The west tower (Fig. 184) is 22 feet by 23 feet externally. It appears to have been almost entirely rebuilt, except the doorway in the west wall, which seems to be ancient. It has plain square jambs and round arch head, with hood mould enclosing the arch stones. The opening in the west wall of the tower leading into the church has been by a round archway 9 feet in width, now built up. This wall has been much altered, but there appear to have been Norman imposts to the arch. The chancel arch (Fig. 185) is 8 feet 6 inches wide. It has had a large attached centre shaft and two smaller side shafts in each jamb. The north centre shaft has been removed and a wooden substitute introduced. The shafts have all had Norman caps of the cushion pattern (see enlarged sketch in Fig. 185.), but they are now so battered as to be scarcely distinguishable. The arch is much concealed under the east gallery. To the right of it is a monumental tablet of the seventeenth century, which bears the arms of Leslie and Forbes impaled.
From the style of the architecture of the Norman remains, it seems most probable that they form part of the convent erected by the Earl of Mar in the beginning of the thirteenth century.
Birnie is believed to have been the original seat of the Bishop of Moray before he migrated, in the first place, to Kineddar, then to Spynie, and finally to Elgin. Simeon, the fourth Bishop, was buried here in 1184. The church is situated about three miles south from Elgin, near the river Lossie, and the road to it from Elgin passes through a pleasant, well cultivated country, diversified with numerous undulations and woods.
The church, which is dedicated to St. Brandon, stands on the top of a small alluvial hill and is conspicuous from a distance. It is evidently ancient, and, although perfectly plain externally, impresses one at sight, from the nature of its masonry, as being of Norman workmanship. The stone work is all of square dressed freestone ashlar, both externally and internally. The west wall was rebuilt in 1734 (the date on the belfry), when the church was shortened by a few feet, and although the old materials were reused, the inferiority of the new workmanship to the old is very apparent.
As it now stands, the edifice (Fig. 186) consists of nave and chancel, without aisles. The former measures 42 feet long by 18 feet 6 inches wide internally, and the latter is 16 feet long by 13 feet wide. The nave has a doorway in the south wall, and another immediately opposite it in the north wall. The chancel has a small round-headed window in each of the north and south walls, and it is remarkable that there is no window in the east wall. There is also a doorway in the south wall of the chancel, which has evidently been added or enlarged at a comparatively late period. Every part of the building, both externally and internally, is perfectly plain. The only portion which presents the smallest approach to ornament is the chancel arch (Fig. 187). The opening is 7 feet 6 inches in width, and is flanked at each side by a substantial semi-circular attached shaft, which has a moulded base and a heavy Norman cap of the pattern founded on the cushion, with
numerous subdivisions. The upper part of the cap has also a small stepped ornament, similar to what exists at Jedburgh and elsewhere. The square abacus of the caps carries an arch which forms one square order, and the angles of the jambs support another square order on each side of the first. The architecture, though simple, is good, and, together with the chancel arch, indicates a rather advanced date in the Norman period, probably towards the end of the twelfth century. Within the chancel arch there stands a very interesting relic of Norman design, probably of older date than the church. This is the stone font, the upper part of which consists of a semi-hemispherical stone basin, with portions cut off vertically, like a cushion cap, while the top plinth has small portions at the angles cut off, thus making it an irregular octagon. The pedestal on which the basin rests is circular, and is fluted with small spirals passing round it. This, we understand, was supplied recently.
The church also contains a very rare and interesting specimen of the ancient square shaped Celtic bell, which may possibly indicate that the present church was preceded by a Celtic monastery, of which this is a relic, but of which no record remains.
St. Oran’s Chapel is the name given to a small edifice which stands in the ancient burial-ground situated a short distance south-west from the cathedral. The name of the churchyard is “Relig Oran,” being so called from Oran, one of St. Columba’s companions, who was probably the first of his followers who died on the island.
As stated in the Introduction,[153] this chapel is supposed by Dr. Reeves to have been built by Queen Margaret about 1074. The chapel (Fig. 188) is a plain oblong, 30 feet long by 16 feet wide internally. As often happens in West Highland chapels, there is no window in the east wall.
The only light was obtained from two narrow windows near the east end, one in the north and the other in the south wall, immediately opposite one another.
The entrance doorway (Fig. 189) is in the west wall. It is more elaborate than most of the West Highland chapels, having (Fig. 190) two nook shafts on each side with plain cushion caps, surmounted by a semi-circular arch in two orders with a label, all of which have been elaborately carved with Norman enrichments. Those of the label consist of a series of round and rather pointed knobs. The outer order seems to have been carved with a bird’s head ornament, and the inner order with a kind of chevron. All the carved work, however, is greatly decayed by exposure to the weather. The building has a gable at each end, and has had a wooden roof. In the interior of the south wall a somewhat elaborate monument (Fig. 191) has been inserted, which, from its style, is evidently of late date. The canopy consists of two orders, one of an ogee form, with weather table, which has been ornamented with crockets, and has a crucifixion introduced in the pinnacle at the top of the arch. The label terminations at each side
consist of animals like lions of an exaggerated size. The inner arch has a large cusp which has been filled with Celtic carved scroll work, but it is now much decayed. A broken piscina stands at the west side of the monument. A number of very interesting and finely carved Celtic monumental slabs are preserved in the chapel, and a great many more, some of
them said to be the monuments of Scottish, Irish, and Norwegian kings, lie exposed in the churchyard, and are gradually wasting away. They are all elaborately carved with the floral ornament peculiar to this part of the country, while some also contain the dog-tooth ornament, which was revived here at a late date. This will be further referred to in connection with Iona Cathedral.
Mr. Romilly Allen has shown that the Norman carved work in England was executed between 1135 and 1190, and that hardly any carving exists on churches of an earlier date. It could, therefore, not be looked for here till towards the end of the twelfth century. The carved work in the west doorway of the chapel, being of a somewhat advanced character of ornament, can, therefore, scarcely be earlier than about the beginning of the thirteenth century.
When treating of Edinburgh Castle in the Castellated and Domestic Architecture of Scotland,[154] this chapel was briefly described and illustrated; but it has been thought of sufficient importance to be included in this volume, with additional illustrations[155] and descriptive matter.
The exterior walls of the chapel (Fig. 192) form an oblong, measuring 31 feet 7 inches from east to west, by 16 feet in width at the east end and 14 feet 4 inches at the west end. The angles of the structure are thus not right angles. Although the building is extremely simple in its external aspect, it is more ornamental and of a more developed form of plan in the
interior. The plan comprises a nave with a chancel arch, and a chancel which has a round apse formed within the square east end of the exterior. The nave is 15 feet 10 inches long by 10 feet 4 inches and 9 feet 9 inches wide at the east and west ends respectively. The chancel is 9 feet 7½ inches long, and the same width at the west end. The total interior length is 27 feet 4½ inches. The nave is waggon vaulted, without ribs; and the apse is roofed with a vault forming the quadrant of a dome. The nave vault is about 10 feet 8 inches high. (See sections, Fig. 192.)
The chapel stands on the extreme summit of the Castle rock, and the rock which is seen rising against it on all sides, except the north (on which side the level outside is nearly the same as that of the floor), has, it is understood, in recent years been partially cut away on the south, east, and west sides. (Fig. 193.) This operation has to be kept in view in considering the masonry of the exterior walls, for on those three sides there has necessarily been a certain amount of underbuilding, which is consequently of a much more modern character than Norman masonry.
The genuine surviving Norman masonry begins below the line of the south windows (see Fig. 194.). The first two or three courses, which extend up to the sills of the south windows, are built of reddish stone, above which are five courses of a bluish grey stone, the upper course being above the windows. All the masonry above that level on the south and north sides is later work.
The masonry of the north and east sides has been greatly interfered with, as has also that of the west end, where, however, there are several consecutive Norman courses. The east wall appears to have been carried to a greater height than the other walls (Fig. 194), as if some higher building had been attached to the chapel.
The alterations above referred to show that the side and end walls have been raised, and we have no doubt that the upper part of the west gable above the window, with the ridge course, is modern, or at least of a date long subsequent to the original building.
The present porch in front of the entrance door on the north side, near the west end, is quite modern, although the doorway itself is ancient. A
square-headed doorway, with splayed opening, has, possibly in the sixteenth or seventeenth centuries, been cut through the west wall (see Fig. 194.). There are indications of a narrow doorway having formerly opened into the chancel on the north side. It is now built up, and forms an ambry on the inside. (See Fig. 192.)
There are three windows in the south wall, one of them being in the chancel. There is also a window in each of the end walls, the one in the west end being at a considerably higher level than the other (see Fig. 194.). All the windows are splayed widely on the inside, and slightly so on the outside, and they are round arched. They are all about 8 inches wide by about 2 feet high. The two westmost windows in the south
wall, and the high window in the west gable, give light to the nave; the east window in the south wall, and that in the east wall, light the chancel, the former being in the south side, and the latter in the centre of the circular apse.
There is a locker on the north side of the chancel, and a piscina projects, without any recess in the wall, from the south side. This piscina
has a very new look, as if it had been rewrought or renewed; but we have no reason to doubt but that it faithfully represents the original piscina. It has the usual drain.
The chancel arch (Fig. 195), while quite in proportion to the chapel, is little larger than an ordinary doorway. Its opening measures 5 feet 1 inch wide by 6 feet 4 inches to the springing of the arch, and 9 feet in height, measuring from the nave floor to the soffit of the arch, and there is a step up to the chancel. Each jamb (Fig. 196) has two monolithic shafts, set in nooks, with cushion cups. The arch, which is in two corresponding orders, is decorated with the ordinary chevron design. (Fig. 197.) Enclosing the arch is a label moulding, enriched with a lozenge pattern. The arch on the chancel side is quite plain.
The arched roof of the nave, which is built with carefully-dressed stones, seems to be of a later date than the walls, the masonry being finer, and of a different and lighter coloured stone.
The existence of this chapel was long lost sight of, till the late Sir Daniel Wilson, in the course of his explorations in Old Edinburgh, discovered the true nature of the building. He thinks that it is in all probability the chapel used by Queen Margaret during her residence in the Castle before her death in 1093, and that it is probably the most ancient chapel in Scotland. It does not, however, appear to be a very early specimen of Norman work, but rather a fairly-advanced example of the style, both in plan and decoration. Had the chapel been erected in the eleventh century, it would certainly have been of a much ruder style of architecture. No Norman building of that period can be shown to exist in Scotland. Sir Daniel supposes it to be earlier than the Norman part of Holyrood, which was founded in 1128; though probably no part was erected till a considerable time thereafter. Now, the doorway on the south side of Holyrood (the only Norman portion of that building remaining) is not unlike the chancel arch here. The caps of the shafts, the chevron decoration of the arches, and the enriched label are all similar in design, and there is no reason whatever for supposing the one to be older than the other.
After the chapel was discovered, it was intended to be used for its original purpose; a font was gifted to it, and the windows were filled with stained glass. It has now, however, degenerated into a shop for the sale of nicknacks to tourists.
Situated north of the Forth, or “Scots Water,” in the heart of the old Pictish kingdom, Dunfermline was from an early period occupied as a secure and pleasant site by the kings of Scotland. Here Malcolm Canmore had his tower (of which a few crumbling remains still survive), and here he entertained the royal fugitives from England, and married the Princess Margaret, one of these refugees, in 1070.
The King and Queen ended their lives in 1093, within a few days of each other—the first at the siege of Alnwick, and the other in Edinburgh Castle.
According to Turgot, her confessor and biographer, Queen Margaret, immediately after her marriage, founded a church “in that place where the nuptials were celebrated.” This church was dedicated to the Holy Trinity in 1074. It became the place of royal sepulture, and Queen Margaret was buried there a few days after her death. From that time onwards there are continuous references to grants to the Church of the Holy Trinity, and to interments of royal personages therein.
As no notice has been preserved of the erection of any new church till the building of the choir in the first quarter of the thirteenth century, it has been supposed that the nave of the existing structure (which is in the Norman style) may have been the church founded and erected by Queen Margaret. But the style of the building forbids this supposition. None of the English cathedrals were founded till the end of the eleventh century, and few were carried out till the expiry of the first quarter of the twelfth century. Scotland would certainly not be in advance of England in its style of architecture, and we know that little, if any, Norman work was executed in this country till the days of David I. Professor Innes is, therefore, no doubt right when he says—“The original church of Canmore, perhaps not of stone, must have been replaced by a new edifice when it was dedicated in the reign of David I.”[156] The style of the structure is early Norman, and would naturally follow the erection of Durham Cathedral, which took place about twenty-five years earlier.
Probably the original church of Malcolm stood where the new choir was afterwards erected, and David I. added the Norman nave to it. The nature of the site seems to favour this view, as the ground to the west slopes rapidly away, and scarcely allows room for the west end of the nave; while the conventual buildings, for want of suitable space, have had to be carried with an archway over a public street.
It is believed that Alexander I. contemplated the erection of the church into an abbey, and had possibly made arrangements for the introduction of monks. At any rate, in the year of the accession of his successor, David I. (1124), canons of the Order of St. Augustine were brought from Canterbury and established at Dunfermline.
It was, no doubt, soon after that event that David I. carried out extensive works at the new monastery, and probably added the Norman nave to the then existing church of his parents, Margaret and Malcolm. The monastery continued to flourish, and was largely endowed. The early church was soon found to be too small, and it was resolved to rebuild it, so as to form a new choir and transept worthy of the dignity and importance of the convent. This was accordingly carried out between 1216 and 1226, when the choir, with its aisles, the transept, and the presbytery were erected. Abbot Patrick, who had formerly been Dean
and Prior of Canterbury, presided at Dunfermline during the whole of the above time. After him came Abbot William (II.), whom we find appealing to Pope Honorius III. for certain patronages and presentations on account of the great expense incurred during the last ten years in carrying on the extended fabric, whereby the monastery had been greatly impoverished. Again, in 1231, a similar appeal was made to Pope Gregory IX., both on account of the expenses of the church,
and also because the number of canons had been increased from thirty to fifty.
In 1249 a dispute arose regarding the consecration of the new choir, but Honorius IV. decided that a new consecration was not necessary, as the consecrated walls of the older part (the nave) continued in use. In the same year Queen Margaret was canonised, and in 1250 her body was transferred from the old church to the new Lady Chapel, in presence of all the chief men in the kingdom. “The translation of the saintly foundress was probably arranged,” says Professor Innes, “to give solemnity to the opening of the new church.”[157] Soon after this the abbey is described by Matthew of Westminster, who probably saw it, as of vast extent, and containing such magnificent palaces that three kings, with their trains, might be accommodated within its walls.
“This sumptuous pile was destroyed and levelled with the ground by the soldiers of Edward in 1303, excepting only the church and a few dwellings for the monks.”[158]
The Exchequer Rolls inform us of the great expense sometimes incurred in connection with the tombs of the illustrious persons buried in the abbey.[159]
The monastic buildings were, as we have seen, on a very magnificent scale; but of the church, and all the splendid structures connected with the abbey, there now only remain (Fig. 198) the Norman nave, the base of the Lady Chapel, and part of the refectory and kitchen.
The nave (Fig. 199), which is wonderfully well preserved, measures about 106 feet long inside, by about 55 feet wide between the aisle walls. The piers are circular, and measure 4 feet 4½ inches in diameter. The plan of these, with that of the wall responds (Fig. 200), indicates that the original intention (which was carried out) was to groin the aisles. The two eastern bays between the eastern pillars are built up with solid masonry, and only a portion of the arches is seen. The original respond at the east gable wall, against which these arches rested, has long since disappeared, in connection with the erection of the later church.
The two western bays, and the triforium arches above them (one on each side), have also been filled up with solid building in order to strengthen the western towers. The southern of these arches is shown in Fig. 201. The pillars which support the west towers are of greater size than the others, and are of a different section. One of the pillars and the corresponding arch of the north arcade are of late Gothic work, and may be part of the repairs ordered by the Privy Council in 1563,[160] or of the work done in 1594, under the direction of William Schaw, Master of Works, who at that time built the north-west tower and steeple
(Fig. 202), as well as the porch on the north side of the nave (Fig. 203). At the same time, also, certain great buttresses (Fig. 204) were built against the outer walls, which are now conspicuous features of the structure.
The great western doorway of the church (Fig. 205) remains unaltered, and is a good example of Norman work. It consists of five orders, having round and octagonal shafts alternately, chiefly with cushion caps, but some are ornamented with scrolls (Fig. 206). The abacus is heavy, and is carved with sunk diapers. The orders are continued round the arches, and contain chevron ornaments (much decayed), rosettes, and diapers. The outer order contains large heads and geometric figures in the alternate voussoirs, an arrangement similar to that at Dalmeny and Whithorn, where also the geometric figures resemble those adopted here. The original north doorway (Fig. 207), which is partly concealed by Schaw’s porch, is similar in design, with the addition of an arcade above the arch (see Fig. 203.), somewhat resembling, but plainer than that over the doorway of Dalmeny Church, on the south side of the Forth. The south doorway of the church on the opposite side from the porch is a late work. There appears to have been another south doorway at the east end of the nave, but it is now built up. The whole of the aisle walls are arcaded in the interior (Fig. 208) up to the height of the window sills, but the arcade has been partly cut away for monuments.
The general design of the nave recalls that of Durham Cathedral, at the founding of which King Malcolm Canmore was present. The same circular piers, with zig-zag ornaments and massive cushion caps, and also clustered piers, occur in each (Fig. 209), and the small circular bases, resting on great square plinths, are common to both (see also p. 37, Fig. 18.). The arches between the main piers (Fig. 210) consist of bold mouldings, with the label ornament running round the outer moulding. The triforium at Dunfermline is extremely simple (Fig. 211), consisting of a single opening with plain jambs and round arch, with a large roll and fillet in the centre of the thickness of the wall, supported on single attached shafts with cushion caps. The clerestory is also very simple. It contains one window in each bay, with plain recessed arch, supported on single shafts with cushion caps. The aisles (Fig. 212) are vaulted and groined. The transverse arches are flat, with a roll on each side, and the diagonal groins spring from the detached shafts of the responds (see Fig. 208.). The windows of the aisles (see Fig. 209.) are single round-headed lights, having plain sconsions with one recessed shaft on each side, and the arch enriched with chevron mouldings. Externally (Fig. 213) they are of similar design.
Fig. 208 shows the wall shafting and springing of the ribs in the aisles, and the mouldings of the nave arcade, with the arcading beneath the
windows. It also shows the original aisle windows on the inside, while Fig. 213 shows their appearance on the exterior. It will be observed in the latter that there is the same sunk or label ornament on the drip-stone as there is over the arches of the main arcade. Above the aisle window (see the same Fig.) are the lights of the triforium gallery. These have triangular heads, formed by two stones. They appear to have been rounded or moulded on the edge, and spring from sunk shafts having carved capitals. They are now very much decayed, and have all been restored except two on the north side.
Judging from the existence of the large west end pillars already referred to, it was evidently intended from the beginning to have two western towers. The northern one
was destroyed to a considerable extent at the Reformation,[161] along with the upper part of the adjoining gable. In its present state it was designed and built by William Schaw, and is a very effective example of the architecture of his time (see Figs. 202 and 204). The bold corbelling at the top of the tower recalls the somewhat similar treatment of the towers of St. Machar’s, Aberdeen, and other examples derived from domestic architecture. The south-west tower appears to have escaped the fury of the Reformers, and to have remained intact, although in a ruinous state, till 1807, when it fell, having been struck by lightning. Three years later the present top was put on the old walls. The Lady Chapel at the east end, built to receive Queen Margaret’s shrine, is now reduced to a small fragment (see Plan), consisting of part of the south and east walls, which remain to the height of about 2 or 3 feet. It has been a small structure of about 26 feet 9 inches by 22 feet, of delicate and refined first pointed work, as is apparent from the bases of the wall arcading and the edge of the surrounding seat, enriched with nail-head ornaments, which still exist (Fig. 214). The Lady Chapel appears from an old view[162] to have been a low structure, reaching only to the sill of the great east window of the choir, and it was evidently vaulted in two compartments.
Of the choir of the thirteenth century (shown on the Ground Plan, see Fig. 198.) not a single stone exists, having been removed to make room for a modern church; but before the latter was built (begun in 1818), considerable remains of the choir and apparently the whole of the foundations were standing. These ruins were measured and drawn by Mr. J. Baine, C.E., Edinburgh, in 1790, and by the Rev. Mr. Syme in 1805. From their
labours the author of the Annals (Mr. E. Henderson) made a complete plan of the church in 1827, and from it the ground plan of the choir now
given has been filled in.[163] The choir was a prolongation of the present nave, having transepts, and also a great aisle on the north side, the walls of which latter remained till this century. There was a lofty central tower
of two stories, with three windows in each story facing the four sides. Altogether this church must have been a magnificent structure, and was adorned with many altars and shrines. It was to that part of the church specially that the zeal of the Reforming party was directed, when upon the 28th March 1560, “the wholl lordis and barnis that were on thys syde of Forth, passed to Stirling, and be the way kest doun the Abbey of Dunfermling.”—(Lindsay, Chronicle of Scotland, Vol. II. p. 555.)
The interior length of the whole church from the west doorway to the Lady Chapel at the east end is 268 feet 6 inches, and the length of the exterior is 280 feet.
The edifice occupies a lofty and commanding situation, from which the ground falls away on the west and south sides. The monastic buildings stood on the south side of the nave at a considerably lower level than the church. Of these structures, as is shown by the dark walls on the Plan, considerable remains still exist. The ground between the dark walls and the church has, in recent years, been levelled up, the outer portions of the monastic buildings serving as retaining walls. With the exception of these outer walls, the site of the monastery is thus buried. The refectory stood on the south side of the cloister, and the whole length and height of its south and west walls still exist. There is also a small portion of the return of its north wall, adjoining the west gable wall. Indications of its east wall also exist, thus enabling its dimensions to be fixed at 103 feet in length by 34 feet in width. The south wall (Fig. 215) was divided into seven bays, and in six of these there are lofty two-light windows (Fig. 216). The eastern bay is occupied by the pulpit or reading-place, from which one of the brethren read aloud during meals. This place, which occupies the whole of one bay, is about 15 feet long, and is corbelled outwards on a cusped arch (see Fig. 215.) about 4 feet 6 inches wide. It is lighted from the outside by two windows, which have mullions and tracery, still entire, flush with the face of the wall. On the side next the hall there are two lofty openings.
Adjoining the refectory on the south-west is a large tower, beneath which runs a public road, called St. Catherine’s Wynd, through a “pend” or archway, whence the building is called the “Pend Tower.” The outside of the refectory and “Pend Tower” (see Fig. 216.) is very
imposing, with the simple row of lofty buttresses and windows along the top. The west gable wall of the refectory (Fig. 217) is still entire, and has a large window of seven lights. The tracery of this