THE ECCLESIASTICAL ARCHITECTURE OF SCOTLAND

FROM THE EARLIEST CHRISTIAN TIMES TO THE SEVENTEENTH CENTURY.

V O L U M E   I I.

FIRST POINTED PERIOD.

We have now reached that point in the history of mediæval architecture when it took an entirely new and original development. It has already been pointed out[6] that this new departure sprung from the necessity which arose for the invention of an elastic system of vaulting which should admit of all the arches, forming vaults over spaces of any form on plan, being carried to the same height at the ridge. This requirement led to the introduction of the pointed arch in the vaulting, and from that department it soon spread to all the other arched features of the architecture.

This new development took place at a time when great changes were occurring, especially in France, in social and intellectual life. Men’s minds were then gradually awakening, science and instruction were spreading under Abailard and other teachers, the towns were obtaining their freedom, and a new system of things was gradually unfolding itself.

Architecture, which had hitherto been confined to the monasteries, was now undertaken by laymen, who, discarding the old traditional methods, strove after a new and simpler mode of expressing their ideas in stone. The elaborate and stereotyped features and ornaments of the Romanesque style were rejected, and simpler forms, at first almost without ornament, were adopted, which emphasised the constructional elements of the architecture.

Of this simple, but vigorous, early pointed style numerous examples still exist in France and Spain. When introduced amongst the Normans and English towards the close of the twelfth century the pointed style had acquired a certain amount of ornamentation of a new and appropriate description.

The examples already illustrated show that during the Transition period the new style was making itself felt in Scotland about the end of the twelfth century. At Dundrennan and Jedburgh Abbeys the pointed arch becomes prominent amongst the round arches of the earlier style, but many of the old enrichments are still adhered to. This clinging to old forms may still to a certain extent be noticed in some of the structures whose leading features are in the first pointed style, but these relics gradually, though slowly, disappear. The round arch, however, sometimes maintains its position in Scottish doorways throughout the whole of the Gothic period.[7]

The pointed arch is above referred to at Kelso[8] as having been introduced, along with Norman elements, at the crossing under the tower, where its strength was considered useful. The pointed arch, however, cannot generally be said to have been adopted in Scotland in consequence of any special requirement of construction; it rather followed the lead of countries further south as a matter of fashion. Few of our early churches were vaulted throughout at the beginning of the thirteenth century, and the forms of such vaults as existed were, doubtless, borrowed from England. The vaults of the choir of St. Andrews Cathedral and the lower church of Glasgow Cathedral are probably the only exceptions, most of our other large churches having been vaulted, if vaulted at all, at a later period. The large churches were generally designed to have the side aisles only vaulted, the central aisle being covered with a wooden roof, as, for example, Arbroath Abbey and Dunblane and Elgin Cathedrals. Holyrood Abbey is an exception; but there the vaulting of the central aisle was sexpartite, and the pointed arch was not much required.

The first pointed style, when introduced into this country, speedily spread, and most of our large churches are built in that style. Many monasteries, as we have seen, were founded in the time of the sons of Queen Margaret; but most of these appear to have been at first on a small scale, and were chiefly rebuilt on a larger plan, together with new monasteries, in the thirteenth century. Such are the abbeys of Holyrood, Inchcolm, Kilwinning, Pluscardine, Culross, and Beauly.

The thirteenth century was also distinguished as the great epoch for the erection of cathedrals. The secular clergy had then risen to power, and, under their guidance, the erection of magnificent cathedrals, both at home and abroad, was the principal architectural phenomenon of the period. In France and England the great majority of the cathedrals owe their origin or completion to about this epoch; and in Scotland there were erected, in whole or part, during the first pointed period, the cathedrals of St. Andrews, Dunblane, Glasgow (the choir and crypt), Elgin, Brechin, Dunkeld, Caithness, the choir of St. Magnus’ in Orkney, and Galloway.

The first pointed style, in which all the above structures were carried out, reached Scotland, as already mentioned,[9] through England. The relation between the ecclesiastics of the two countries was then very close, the monasteries being colonised from English houses, and the cathedral rules being based on the uses of those of England.

Hence, as might be expected, the connection of the style of architecture adopted in Scotland with that of England is at this period very intimate, almost the only difference observable being that the first pointed work in Scotland is rather later than that in England, and that the Norman and transition features are more slowly rejected. We find the same desire in both countries to render their principal ecclesiastical structures complete and varied. We have no cathedrals in Scotland which can vie with Salisbury, Lincoln, or York in size and magnificence, or in the possession of double transepts. The Scottish cathedrals and abbeys, however, were, for the most part, complete in all departments, having choir and nave with side aisles (and, in the case of Elgin Cathedral, with double aisles to the nave); a presbytery of one or two bays without aisles, but with large windows on three sides; well-marked transepts with eastern aisle; generally a large central tower over the crossing, and frequently two western and other towers.

Great central towers over the crossing of the first pointed period formerly existed at St. Andrews and Elgin Cathedrals, and at Dundrennan, Arbroath, Holyrood, Kilwinning, and Dunfermline Abbeys, but of these not a vestige now remains. The only central towers which now survive are those of Glasgow Cathedral and Pluscardine Abbey, which are carried on the arches of the crossing. There is also a central tower at Culross Abbey which rises with solid walls from the foundation. The central towers of Kirkwall and Dornoch Cathedrals have been rebuilt.

Of the other towers which once adorned our churches there still remain the two noble western towers of Elgin Cathedral, and one of the western towers of Holyrood Abbey. At both of these edifices the towers were carried up with solid walls from the foundation. In other examples, of which, however, only fragments survive, such as Arbroath and Kilwinning Abbeys, the towers opened with arches into the central and side aisles, so that the space occupied by the towers was included in the church. At Kilwinning the arch in the towers next the nave appears to have been carried to a great height, so as to form a kind of western transept. At Inchmahome Priory there are remains of one western tower, which was included in the nave. At Cambuskenneth Abbey a large detached tower exists close to the west end, and at Lindores Abbey there are remains of one western tower.

The dependent buildings were also usually numerous and complete, the cathedrals and abbeys being almost all provided with large cloister garths, surrounded by handsome chapter houses, refectories, guest houses, &c. The chapter houses are generally square, and vaulted from one central pillar; but that of Elgin Cathedral is detached and octagonal, with vaulting springing from a lofty central column. The western portals are generally important, those of Elgin Cathedral and Holyrood Abbey being specially fine. That of Kirkwall Cathedral, already described,[10] is the finest of this period.

The Norman round apse gives place at this time, as in England, to the square east end, and there is in the first pointed period no indication of a round or multangular chevet like those in France.

The similarity of all the details of the architecture of Scotland to that of England has already been fully explained.[11]

The Scottish churches are comparatively low in the vaulting; they do not exhibit the soaring ambition of those of France, but are, like the churches of the sister country, comparatively moderate in height. The buttresses are simple and plain, and flying buttresses and pinnacles are occasionally used. The caps are round on plan, and have foliage founded on that of the early first pointed style in England.

The windows are almost always of the lancet form, several being often grouped together, and some incipient forms of tracery are attempted, as at Dunblane and Glasgow Cathedrals.

In the piers the massive round columns of the Norman style are abandoned, and clustered shafts are used, which give a lighter character to the interior. The sections of these piers are exceedingly simple and effective. They are usually illustrated in connection with each edifice, and they have all a general resemblance to each other. The section consists of one larger attached shaft (usually brought to an acute edge in the centre) on each of the four cardinal faces, and one or two intermediate smaller shafts between the four principal shafts, either separated by square fillets or without such fillets. In the later examples the sharp keel edge on the face of the shafts becomes a fillet.

The bays sometimes follow the ordinary arrangement in England, having a triforium arcade over the main arcade, surmounted by the clerestory. In some of our largest churches, viz., St. Andrews and Glasgow Cathedrals, and Kilwinning, Holyrood, Arbroath, and Pluscardine Abbeys, this arrangement is followed; but it is notable that in several churches, as at Elgin and Dunblane Cathedrals, the triforium is dispensed with, and the clerestory is placed immediately over the main arcade. In other examples, as at Dryburgh Abbey, the triforium is reduced to a minimum, and the gallery represented only by a round cusped opening. The absence of the triforium is an arrangement which was much adhered to in the later epochs of our Gothic architecture.

The relative lengths of the nave and choir have already been referred to;[12] but attention may be drawn to the remarkable fact that in the monastic churches, which were constructed chiefly for the use of the monks, the choir, or portion set apart for the ecclesiastics, is small, and the nave is large; while in the cathedrals, which were intended for the use of the community, the choir is large as compared with the nave.

During the first pointed period attention seems to have been chiefly directed to the erection of large cathedrals and monastic churches—the number of parish churches constructed at this period being comparatively small.

This, no doubt, partly arose from the large number of parish churches built during the Norman period. Several examples of small churches of the first pointed period, however, are illustrated, which show that the style extended to all departments of ecclesiastical structures.

ST. ANDREWS CATHEDRAL, Fifeshire.

The ancient city of St. Andrews, formerly the ecclesiastical metropolis of Scotland, is now reduced to a small, but interesting, town, full of the remains of its former grandeur.

Situated at the eastern point of Fifeshire, on level ground, raised a considerable height above the sea, and surrounded with a rocky coast, there is little in the nature of the site to impress the beholder; but as seen in approaching from the west, the remains of the ancient edifices, with their ruined towers standing out against the sky, produce an impression of departed greatness which accords well with the venerable and stirring history of the place.

There are vague traditions of the site having been occupied by an ancient hermit at a very early period;[13] but St. Andrews was not recognised as the see of a bishop till about 950, when Cellach, the first bishop, was appointed. After him there followed ten Culdee bishops, the last being Fothad, by whom the marriage of Malcolm Canmore and Queen Margaret was celebrated.

The dedication of the cathedral to St. Andrew is involved in fable; but Dr. Skene[14] thinks that the church was founded between 736 and 761, and that portions of the relics of St. Andrew were brought to the place at that time, probably, as tradition has it, by Acca, Bishop of Northumbria, who was banished from that country in 732, and is believed to have founded a church amongst the Picts. The author of Celtic Scotland points to the similarity of the events which succeeded one another in Northumbria and in Southern Pictland in the eighth century. In the former country the Columban Church was expelled and secular clergy introduced; the Church of Hexham was dedicated to St. Andrew, and his relics were received there. In the latter country, sixty years later, the Picts expelled the Columbans and introduced the secular clergy, while at the same time they received part of the relics of St. Andrew, and founded a church in his honour, St. Andrew afterwards becoming the national patron saint.

After the death of Fothad, the last Bishop of Alban, in 1093, the see of St. Andrews remained vacant till 1107, when Turgot, Queen Margaret’s chaplain and biographer, was appointed to the bishopric.

In 1158-59, Arnald, Abbot of Kelso, was consecrated Bishop of St. Andrews. That prelate immediately set about the building of the cathedral, but he died in 1162, when the work was scarcely begun. The structure progressed under his successors, and probably the whole, including the west end, was finished in little more than a century after its commencement. The original west end, having been blown down by a tempest of wind, was rebuilt by Bishop William Wiseheart (or Wishart) between 1272 and 1279. It is usually stated that the cathedral occupied 160 years in building, but it would appear to have been entirely erected from east to west on the ground it now occupies in about 115 years.

The Cathedral of St. Andrews was also the conventual church of the priory of Canons Regular of St. Augustine, which was founded by Bishop Robert about the year 1120; but of the conventual buildings erected at that time there are now no remains. The church of St. Regulus, however, which was probably erected by him, still survives.[15] The bishop was, ex officio, the prior of the monastery.

The structures erected by the various succeeding bishops and archbishops are noticed as we proceed.

In 1559 the cathedral was attacked by the mob and greatly destroyed, and thereafter became a general quarry for public use. In 1826 the Barons of Exchequer took possession of the ruins and had the rubbish cleared away, and what remained of the structure put in good order, the bases of the piers, where they existed, being brought to light, and the outline of the ancient buildings marked out in the turf.

A property adjoining the cathedral having recently been acquired by the Marquis of Bute, excavations on the site of the priory have been carried out by him, under the superintendence of Mr. J. Kinross, architect, and considerable remains of the foundations of the ancient monastic buildings have been disclosed to view.

The cathedral, of which the ruins still exist (Fig. 441), consisted of a short aisleless presbytery and a choir of five bays with side aisles, having an eastern chapel in each aisle; north and south transepts, each of three bays, with eastern aisles; a nave of twelve bays with north and south aisles;

and a large central tower over the crossing. The interior dimensions of the edifice were as follow:—Total length, 355 feet; width of nave, 63 feet; length of transepts, 167 feet 6 inches; width of transepts, 43 feet 2 inches.

The older surviving portions show some remains of the transition style, but the principal parts of the structure have been carried out in the first pointed style. The remains of the choir piers clearly indicate that that style has prevailed in the choir, and the beautiful entrance to the chapter house gives some idea of the boldness and vigour of the first pointed work which, doubtless, extended throughout the building.

The cathedral has been very greatly ruined, but some portions have escaped destruction. Of these the east end wall still stands, but without its gable, and one half of the west end wall is entire. Besides these, the south wall of the nave, the west and south walls of the south transept for a considerable height, portions of other walls and foundations, and certain of the pillars to a few feet above the bases, are all that now survive of this once splendid structure. The east end of the choir, and the south transept and nave as far west as the fourth bay of the nave, show some lingering traces of the Transition style; and in portions of the nave, as far as the cloister doorway in the third bay from the west end, the lower part of the wall half-way up to the window sills, is of the same period. This is evident from the flat band, chamfered at top and bottom, which runs along thus far, and is a characteristic feature of early work.

The building of the western portion by Wishart is described with considerable minuteness in the Orygynale Cronykill, by Andrew Wyntown, who was a canon of the priory. He says (Vol. I., p. 390):—

Nothing is said about an earlier west end, but the description applies well to the later upper story of the south wall (see Fig. 448) and the lower story of the west end of the nave (see Fig. 450).

The east end wall is not now in its original condition, but enough remains to show what it was originally. Fig. 442 shows its first condition when it was divided into three stories, with three windows in each, similar to those still remaining in the lower story (Fig. 443). The windows of the top range had in the interior (Fig. 444) shoulders at the springing of the arch similar to those of the windows still standing in the nave and transept. Nothing remains to show how the apex was designed. The windows of the two upper stories were almost entirely abolished during the first half of the fifteenth century, when one large window was inserted with simple tracery, of which enough remains to enable the design to be reconstructed (Fig. 445). The arch of this window is very slightly pointed, and is indeed semicircular in its inner ring, the object being to get as much extra height as possible without penetrating into the corbel course of the apex, the

cornice outside being, however, slightly raised in the centre over the top of the arch. The jambs and arch springers of the original windows, which did not require to be removed, have been left to tell the tale of the original design (see Figs. 443 and 444). We have in this east end an example of the Norman style of designing a façade by piling story above story, altered at a later date by the insertion of one large traceried window, so as to bring the façade into harmony with the later style of designing similar façades. From the small portions of the north and south walls still standing, it is evident that the same design as in the east wall of three stories was continued westwards in the choir. The upper story consisted of an arcade, having a central light in each bay, and an arch on each side opening into the passage which ran along the centre of the wall (see Fig. 444). On the outside these side openings were represented by blind arches. Against the north-east corner of the east wall a high angular buttress has been built (see Plan), having massive base mouldings of probably fifteenth century work. A similar buttress is indicated in the plan of the cathedral shown in Lyon’s History of St. Andrews as having existed at the opposite corner. The object of these buttresses is not apparent, as the east end wall shows no sign of weakness, although it has been badly used when the buttresses were built by having its corner stones pulled out. For the preservation of the structure the corners, which have been removed, ought to be replaced, seeing that the east wall now stands quite detached. The blank wall of the presbytery beneath the lower windows of the east end (see Fig. 444) appears to have been ornamented with an arcade, the blocks for the bases of the shafts being still in situ. The arcade must have been merely placed against the wall, and not bonded into it in the usual way, or else there would have been some remains or indications of it.

In the foundations of the east wall there can be seen fragments of ancient sculptured stones, and it has been proposed that these should be removed; but fortunately, for the preservation of the structure, that idea has been abandoned.

The presbytery had a groined vault springing from lofty angle shafts. The ribs are crossed by a curious horizontal band, at the level where the vaulting becomes of arched construction. This groining may possibly have been renewed at the time the alterations were made on the east wall. The angle buttresses may have been built at the same time, although, strangely, at the points where they were least required.

The central aisle of the choir and nave is of the same width as the presbytery. Several of the piers of the choir still remain to a considerable height above the base. Their section, and also those of the nave piers, are shown in Fig. 446. The side aisles were vaulted, as is indicated by the bases of the vaulting shafts.

The presbytery floor is two steps up from the choir; the steps still exist between the two eastmost pillars. To the eastward of these there are foundations as if of a wall across the church. Adjoining this there is a large stone slab, measuring about 11 feet 4 inches by 7 feet 8 inches, with slight square depressions carefully wrought on its surface, as shown on the Plan. This large slab may have been the covering of a grave, and the depressions on the surface may have contained brasses. There is a similar slab in the choir, measuring 10 feet by 5 feet 5½ inches (see Plan).

The west wall of the south transept (Fig. 447) has an intersecting arcade in the lower story, with three round arched windows above, and graceful arcading between, resting on corbels having square abaci. Similar windows are continued along the south wall of the nave for four bays. Westwards of this the nave windows are pointed, and have very simple tracery (Fig. 448); otherwise there is very little difference in the design of the south wall of the nave throughout its whole length. The lower part seems to have been built as far west as the third bay from the west end during the Transition period. The plan of the wall shows the same flat buttresses with round angle shafts throughout its whole length, which are indications of early work. Fig. 449 shows the cap of the angle shafts of the buttresses, and one of the corbels of the cornice. The springers of the groining of the south aisle still remain (see Fig. 447). The groining appears to have been late, and of rather coarse work. The ribs are struck from centres below the level of their springing. All the bays have wall ribs, except the two east bays, which rather indicates that the latter bays were not meant at first to be vaulted. The vaulting

shafts have all the same section, and are without caps, the ribs dying into the shafts, except in the case of the two eastmost and the westmost shaft and the angle one at the west wall, which latter does not come to the ground. These shafts have large caps, uniting the clustered section into one. The centre aisle of the nave was not vaulted.

The south wall of the nave extends considerably westwards beyond the present west end, and contains the remains of a vaulting shaft in the position it would naturally have occupied in the spacing of the bays. This seems to show that the cathedral was originally of greater length than it now is by at least 34 feet, while it may have extended westwards an unknown number of bays, each of which would measure 16 feet in width. The south side of this wall (which is partly built against with modern erections) shows traces of early arcading. The north wall of the nave also projects westwards from the present west end for a distance of about 7 feet. When the original west wall fell, it may have destroyed a few of the western bays, and this possibly induced Bishop Wishart, when he rebuilt the west end, to omit these bays, and shorten the cathedral by so much.

There is a very puzzling feature in connection with this west front (Fig. 450) which has never been satisfactorily explained. On each side of the doorway there rises a vaulting shaft, a few feet higher than the level of the capitals of the doorway. A similar shaft will be observed at the angle of the west front and the south wall. Rising from these shafts are incomplete ragglets, indicating the form of vaults against the west façade, thus suggesting that there was a western porch. But such a feature is quite incompatible with the design of the west end, for had there been such a porch, it would have cut the arcade above the doorway in two, which is a most unlikely idea. The vaulting shafts and arches springing from them are a part of the original design and construction. The arcade also seems at first sight to be so, hence the difficulty of reconciling these features with the existence of a western porch. The marks of the arch rise to the apex in the south aisle, and the arch head might have been completed without interfering with the arcade. Over the central door the marks of the arch are carried up only as far as the string course beneath the first arcade. This fact, together with the later character of the upper part of the building, would seem to indicate that there has been a change in the design, and that the original intention of having a wide porch extending along the whole of the west end has been departed from after the first story was built up to the level of the above string course, all above that point being of later design and execution. The style of the architecture confirms this view. It may be mentioned that the arcade over the west door is very similar to that over the “Pends” (see Fig. 456), which is, undoubtedly, a late structure. The lower story of the west end, which is in the first pointed style, would thus appear to be all that remains of the façade erected by Bishop Wishart; while the upper portion above the first string course was rebuilt at a later date, as will be explained further on.

The usual east and west doorways open from the nave into the cloisters, the eastern one (Fig. 451) being of good transition design. Like all the openings on the ground level on the cloister side, it was, till recently, backed up with brick, so as to form a good wall for fruit trees; but this part of the building has now been opened up under the instructions of the Marquis of Bute.

A holy water stoup, in the angle of the transept, adjoins the eastern door to the cloister, and the corbels which supported the projecting upper part of the transept wall, and also carried the wall plate of the cloister roof, are likewise disclosed. A similar stoup exists in the corresponding position adjoining the cloister door at Melrose. Another doorway in the south wall, outside the west end, led to the conventual buildings. A doorway in the south transept aisle (see Plan) led to the south.

The chapter house was a room about 26 feet square. It was vaulted with four central pillars, and was about 15 feet high. The opening to the chapter house, from the cloisters, consisted of a central doorway with two side openings. These portions of the building (Fig. 452) are in the purest style of early pointed architecture, and, happily, they are in a fairly complete state of preservation, only the central pillars of the side openings, which had two lights, being wanting. These are shown as if restored in Fig. 453. The round caps and bases and the dog-tooth ornament are distinctive of the style. The round arched doorway on the north leads from the cloister to the slype. The chapter house appears to have been built before the middle of the thirteenth century. About a century later (1298-1328) Bishop Lamberton erected a new chapter house to the east (as shown on the Plan). Of this extension only the south wall remains, showing thirteen seats in arched recesses, the eastern seat being apart from the others. The return of the east wall remains, together with a portion of a continuous seat. The wall between the old and new chapter house is very much reduced in height. It contains an opening in the style of the entrance from the cloister, and has had a central doorway with side openings. The old chapter house then became the vestibule to the new one.

The size of the new chapter house was about 47 feet by 26 feet. It was groined in two bays, and probably the vault extended from wall to wall without central pillars.

Spottiswoode (page 34) says of Bishop Lamberton that he adorned the chapter house with “curious seats and ceeling,” and Fordun mentions that Joannes de Gourie, the twelfth prior, died in 1340, and was buried in “Novo Capitulo.”[19] Winton and Martine also state that on the completion of this addition to the chapter house, in 1318, the Cathedral of St. Andrews was dedicated by Bishop Lamberton, assisted by seven bishops and fifteen abbots, in presence of King Robert the Bruce and a great assembly of gentlemen. South of the original chapter house are the remains of what

was probably the fratry. On the upper floor, which formerly existed above this building and the chapter house, was the dormitory; the wheel stair leading to it from the south transept still exists in the south-west angle of the south transept. This dormitory was built by John Quhite, the seventh prior, between 1236 and 1258, being about the period to which the building of the original chapter house would, from its style, be assigned. This prior also built the refectory, which occupied the south side of the cloister. It was, according to Martine (p. 187), 108 feet long by 28 feet wide, and had, at the east end, “a four square room for copes and albs, &c., besides the common vestiarie.”

The Plan (Fig. 454)[20] shows the conventual and other buildings attached to the cathedral. These have recently been excavated by instructions of the Marquis of Bute, and are found to correspond with the above figures given by Martine. Two doorways of first pointed style in the west wall of the fratry (Fig. 455) have also been opened up.

The west side of the cloister was occupied by the sub-prior’s house, known also as the Senzie house. To the south of it was the Senzie chamber, which appears to have been enlarged at the beginning of the sixteenth century into a room 80 feet by 20 feet, in order to form the library of the adjoining College of St. Leonards. The extending of this room blocked up the west windows of the refectory, and, doubtless, the existing arched cellars shown on the Plan were beneath this chamber.

The building seen on the Plan to the south-east of the chapter house seems, from Martine’s description, to be part of the remains of the prior’s house, called also the Hospitium Vetus, or the Old Inn. It was a large building, occupying the ground to the east of the fratry, and was sometimes the residence of the bishop.

To the west of the cathedral are the stately remains of the entrance gateway, called the “Pends” (Fig. 456). Only the shell of the building now remains, with the springers of the groined vaulting. It measures about 80 feet in length by 23 feet in width.

In continuation of the “Pends” is the enclosing wall of the priory grounds. This is a very extensive structure (Fig. 457), still in good preservation. It is about 22 feet high and 4 feet thick. As will be seen from the Plan, it circles round till it reaches the north-east corner of the cathedral, at which point it is seen in the view (see Fig. 444). The length of the wall is about 1150 yards. In Martine’s time it contained sixteen towers; at present thirteen are partly standing. There is a wide gate in the wall to the south (Fig. 458) defended by towers (see S, Fig. 457). It is the common “entrie for carts with the teynd sheaves of the prior aikers.” Close to it stood the “teynd barne and teynd yaird.”

The gate in the east wall (see R, Fig. 457), which is close to the harbour, and is called the Harbour Gate, is shown in Fig. 459. This wall was built by Prior Hepburn, whose arms are to be seen on several of the towers, and one bears the date of 1520.

Martine informs us that amongst the other buildings scattered throughout the grounds were the following (most of which are shown in Fig. 457), viz.:—

The Guest House, within the precinct of St. Leonard’s College. It was built by John White, seventh prior, about the middle of the thirteenth century. Part of the wall is believed to be still standing.

The New Inn. “It is thought this was the last building about the abbacie before the Reformation,” and to have been built as a retreat for Magdalene, Queen of James V., who, however, did not live to visit it, as she died in 1537. Only the entrance gateway of this building now remains. It contains the Scottish arms and the arms of Prior Hepburn. The New Inn was afterwards the occasional residence of the archbishop.