The most of the above portions of the structure appear to belong to the transition period, and were probably erected soon after the convent was founded. The choir and sacristy are undoubtedly original, but the nave and aisle and upper part of the structure appear to have been rebuilt, probably at a late date. The upper part of the nave is of an undefined character. The small windows have round arches, and might be transition work; but they are placed over the piers, not over the arches, as was invariably the case in early buildings.
The west wall is very plain. It has a tall round-headed window on the church level, with a string course stepped over it, and a small window is introduced in the gable, which might be of almost any period. A series of corbels occurs in the south-west wall over the doorway. They are carved with grotesque heads, and appear to have supported a wooden floor—perhaps an organ gallery. There has been a doorway in the north wall of the aisle. It had two nook shafts, but it has now almost disappeared. A portion of a cross wall is visible in the aisle, with what may have been the seat of an altar against it.
Within recent years considerable excavations and repairs have been
made in the building. The position of the cloister garth has been defined by a low wall; and the site of the chapter house on the eastern side, with its stone seat running round it (see Fig. 383.), has been disclosed. The other apartments on this side remain indefinite, but the position and walls of the refectory on the south side are distinct. This part of the structure has had an upper story, probably a dormitory. The south, east, and west walls, with their small windows, are still preserved. There was, no doubt, a dormitory over the east side of the quadrangle, but the walls there are now only a few feet in height.
At a distance of about 30 feet north from the convent church stands another building, said to have been the parish church. (See Fig. 381.) It is dedicated to St. Ronan, and is a simple oblong chamber, 37 feet long by 16 feet wide internally.
It has a small window in the centre of the east wall, and the seat of the altar still remains. In the north and south wall, near the east end, are the remains of two windows, which have apparently been rather wider than the east window.
The doorway has been at the north-west angle, and has had a single nook shaft in each jamb; but that part of the structure is now much destroyed. The whole building is constructed with the plain rubble work usual in West Highland churches.
Numerous very fine specimens of Celtic carved work are preserved in the monumental stones which have been found and are preserved in the convent.[192] Amongst these is the monument of the last prioress. On it are carved the figure of the prioress, surmounted by a rude Gothic canopy, and an inscription bearing the date of 1543. It also contains the ancient symbols of the mirror and the comb.
This church, said to be the largest mediæval parish church in Scotland, is still preserved and used as the principal church of Aberdeen; but only two portions of the ancient work remain—viz., the transepts and the crypt at the east end, below the choir. The nave was rebuilt about the middle of last century by Gibbs, the well-known architect of St. Martin’s-in-the-Fields Church, London, and the Radcliffe Library, Oxford. It is, of course, in the Renaissance style of the time, and the interior is very dignified. The choir was entirely taken down in 1835 and rebuilt in the most tasteless fashion. The walls of the crypt and transepts were all refaced except the north front of the transept, which, however, is of no great architectural value, having been altered considerably in the seventeenth century; in any case, it forms a pleasing contrast to the very rigid and inartistic new masonry. The central tower, with the leaded spire, was burned in 1874, and the existing central spire was thereafter erected. In these circumstances, it is only the interior of the transept and crypt which come within the scope of the present work.
The transepts (Fig. 385) measure internally about 103 feet by 20 feet 10 inches, and are of the transitional style of the end of the twelfth century. The openings into the nave and choir are now built up. There
seems always to have been a solid wall between the transept and the nave aisles, with only a small opening of communication in each of about the size of an ordinary doorway. These openings are of a very plain and simple design (Fig. 386). The piers which carry the central tower (Fig. 387) are of the usual transitional type, having graceful capitals and square abaci supporting round arches. These are shown in detail in Fig. 388. They are not visible in the choir and nave.
On each side of the north transept there are two original clerestory windows, those on the east side are seen in Fig. 389, and one of them, which would overlook the roof of the choir aisle (Fig. 390), has angle shafts, with carved caps and mouldings. The present large north window of the transept (seen in Fig. 389.), the tracery of which is of very late work, has remains of its original features, and in the low pointed recess seen in the same view there is a transition attached shaft, with carved cap and square abacus. There is only a shaft on one side of the recess (as shown on Plan). The pointed arch of this recess, as well as the tomb alongside, below the large window, are of later work.
On the west side of the north wall there has been a round arched doorway, of which traces are yet visible. This is probably the doorway referred to in the following extract of the 10th January 1518—“The said day, the toone consentit and ordanit thair masteris of Kirkwerk to translat thar ( ) and passag to the rudloft, and big up Sanct Nichell dur, and mak a fair wyndo in that gavill of thar croce kirk.”[193]
The “fair wyndo” is, doubtless, the window in the north end wall just referred to as having been altered, and seen in Fig. 389. The foregoing are the only original features of the upper church now remaining, all else is of the fifteenth and following centuries, and consists generally of the wide pointed openings leading into the choir; and in the south transept of a fifteenth century sculptured tablet of fine design (Fig. 391) with the following modern inscription beneath—“The above stone represents the Chantry or Annual Mass to be sung for his soul. Founded by William Leith, of Barns, Provest of Aberdeen in 1351, who, with many of his Descendants, is Interred underneath.” The monument has had an inscription, now illegible, and has suffered considerably either from neglect or mischief.
The crypt at the east end of the choir is shown on Plan in its proper relation to the transepts, but it is on a lower level. Although, as already stated, no part of the choir now remains, the walls drawn in outline are
built on the site of the old walls, and show that the choir consisted of five bays, with an apse. The total interior length from the east wall of the apse to the tower is about 102 feet. It may be mentioned that the total internal length of the existing church from the west end of the nave to the apse is about 234 feet.
The crypt was approached by two stairs, one from the north and another from the south aisle of the choir. These are now swept away, and only their round arched openings remain as recesses in the walls of the crypt. As these recesses are at a considerable height, most of the steps were probably in the crypt. The stairs shown on the Plan with the windows and doors are all quite modern. The latter lead out to the street, which is at the level of the floor.
The length of the crypt (which corresponds with the width of the choir) is about 65 feet. The crypt consists of one central and two side aisles, with an eastern apse. The plan of these divisions indicates that the central aisle of the choir was only about 3 feet wider than the side aisles, a very unusual arrangement, the side aisles being generally much narrower than the central one. The width of the crypt is about 16 feet, and the length at the apse is about 36 feet 6 inches. It is internally a very picturesque and interesting structure, but it has been badly treated at the time of the rebuilding of the choir. The wonder is that it escaped from being rebuilt, like the rest of the church. It is at present proposed to restore the building by removing the lath and plaster from the walls, and laying the floor at the original level, and also to fill the windows with stained glass. We may express the hope that before this is done the distressing effects of the stained glass in the crypt of Glasgow Cathedral will be duly considered.
The roof is groined throughout, the three compartments in the length (Fig. 392) being separated by pointed arches, which spring from moulded caps on octagonal responds. The ribs are the same in all the compartments, except that in the centre and north a length of the ridge rib is omitted (see Plan). The opening into the apse has a stunted
round arch (Fig. 393), and is a prominent example of the love of the Scottish builders for this form of arch all through the Gothic period. This is the only place in the crypt where the width is sufficient to allow
of such an arch reaching the roof without the necessity of undue gabling above the arch, and it further has the effect of giving a dignity and effect of separation to the apse which it would not have possessed with a pointed arch. Each compartment of the apse has a central boss, two of these are shown (Fig. 394). All the intermediate ribs spring from corbels at a lower level than the caps of the responds (Fig. 395), from which the separating arches spring, and the long diagonals of the centre compartment cut through these caps and rest on the notch formed in the centre of the wide diagonal respond at the opening to the apse (see Fig. 392.).
There is a considerable amount of carved woodwork—bench ends and backs of seats—in the crypt, some of the fifteenth or sixteenth century (Fig. 396), and some of a later period. These are probably part of the work done by John Ferdour, “wricht,” who, in 1507, contracted to make twenty-four stalls and other furniture “substanciusly and honourable as he may,” as they are begun, “and bettir gif he can” (p. 77).
The height from the present floor, which is about 18 inches above the original level, is 13 feet 4 inches to the centre rib and 7 feet to the top of the respond caps. The walls, being plastered, hide the wall ribs and any of the usual architectural features, if any such exist.
The choir so recently taken down superseded an older one.
It does not appear to be quite certain when the latter was begun, but throughout the Council Register there are numerous references to the “kyrk werk,” and to the “reparacion of the perise kirk of Sanct Nicolace.” These references begin in 1442 and continue for about a century. In 1474 there is a contract for delivering six score stones of lead to “Schir Andro
Wricht, maister of the kirk wark” (p. 32), and three years later “Alexander of Charmyr,” alderman, was appointed “vpper and principale maister of wark of the bigeing of Sanct Nicholace qveyr for twa yeris to cum” (p. 33). Sir Andrew was probably an ecclesiastic, and he and Chalmers appear to have been the paymasters.
In 1483 David Menzis, elder, was master of the kirk work, and purchased a boat load of lime for the building, and in the following year “Maistre Johne Gray, mason,” was appointed “to the bigging of Sanct Nicolace wark.” He engaged to work in his own person, and to superintend the masons and other workmen. He was “to be lele and trew to the said wark for al the dais of his life, unto the completing and ending of the same” (p. 41). It would appear that there were but few skilled workmen employed in the building, as only some five or six men are mentioned by name in the register. They are frequently referred to, and appear to have been bound to remain at the building during the pleasure of the Council. In the same year that Gray was appointed the feeing of a single mason was a matter of so much importance as to occupy a whole sitting of the Town Council and “diuerse of the communite” (p. 41), and in the year following (1493) three masons were sent to Cowie (a few miles south from Aberdeen) to work there for a year quarrying stones for the church. The shifts and expedients to find funds for the building run through all the deliberations of the Council. In 1495 about fifty
citizens advanced the money “to pay Johne Ferdour for the making of the roff and tymmir of the queyr” (p. 56), and in 1500 a contribution of “salmond and money” was made for lead for the church. This offering was not sufficient, and we find other negotiations had to be gone into to raise funds, and it was not till 1510 that they were able to order the master of the kirk work, George Bisset (a new master), to “cause the plumbar to pass and ende his werk, and theik the body of thar kirk with leide” (p. 80), and at last, in 1513, a gilded “weddercok” is set up on “Sanct Nicholace stepill.”
The picturesque village of Coldingham, with the remains of its ancient priory, lies in a small valley about 3½ miles eastward from Reston Railway Station, and within a mile of the sea.
The great precipice of St. Abb’s Head, overlooking the German Ocean, is only a few miles off. It is believed that Ebba, daughter of the Northumbrian King Ethelfrid, and sister of King Oswy, in the bright days of that kingdom, about the middle of the seventh century, founded the monastery of Urbs Coludi, or Coldingham. There Ethelrida, Queen of Egfrid, took the veil, and she afterwards founded the church and monastery of Ely, of which she became abbess.[194]
The Convent of Coldingham was several times sacked by the Danes, and after its destruction by them in 870, it remained desolate till it was restored in 1098 for a colony of Benedictines.
The foundations of an early church with an eastern apse were found in excavations made in 1854. The outlines of this early church, as shown on a plan prepared by Mr. Hunter, in 1858, for his history of the priory, are drawn in outline on Fig. 397. These were, doubtless, the remains of the church erected in 1089. It had the circular apse of the early Norman churches.
The Priory of Coldingham was refounded at the above date by Edgar, son of Malcolm Canmore and Queen Margaret. His charter is still preserved at Durham. The church was dedicated to St. Cuthbert and St. Ebba, and granted by Edgar to St. Cuthbert’s Canons Regular of Durham, in acknowledgment of assistance he had received from England. It was colonised by Benedictine monks, sent to it by the abbot of Durham.
The priory thus remained long subordinate to the English Church, although upon Scottish soil. The Canons of Durham controlled it, and drew its revenues till 1504, when it was annexed to the Scottish Crown. In 1509, the priory was at length detached from Durham, and placed under the rule of the Abbey of Dunfermline, in which position it remained till the Reformation.
In the unsettled period of Robert III., and the regency of the Duke of Albany, the monks found it desirable to place the convent and its revenues under the protection of Archibald, Earl of Douglas, who appointed the Laird of Home as his under-keeper, and the Homes continued to be the bailiffs of the priory till the Reformation, when it fell entirely into their hands.
In order to provide support for the Chapel-Royal in Stirling, which James III. had founded, he attempted to suppress the Priory of Coldingham and annex its revenues, and this was approved by the Parliament of 1485. However, the proposal was opposed most strenuously by the Homes and Hepburns, and tended to bring about the rebellion by which King James lost his life.[195]
The buildings of the convent are said to have suffered severely from fire on three different occasions—viz., in 1216, in 1430, and in 1544. The structure was also greatly damaged by Cromwell, and since his time has served as a convenient quarry to the villagers. The result of the dilapidations thus caused has been that but little of the monastery now remains. The church is said to have consisted (see Plan) of nave and choir, each 90 feet by 25 feet, and transept, 41 feet by 34 feet. At the north-west angle of the latter rose a massive square tower 90 feet in height.
Of these once extensive structures there now only remain the north and east walls of the choir, and some fragments of the south transept. The nave has been entirely removed, and the great tower fell rather more than a century ago. In 1662, the west and south walls of the choir were
rebuilt to render that portion of the edifice suitable for a place of worship, and in 1854-55 the choir was restored, its west and south walls being again partly rebuilt, a south porch added, and the corner turrets carried up to their present height. The whitewash was also removed from the beautiful work of the interior.
The church thus restored is 84 feet in length by 23 feet in width internally, and comprises the ancient north and east walls of the priory choir. The choir never had aisles, the walls having evidently been designed to form the exterior of the building. They are two stories in height (Fig. 398), the ground floor consisting of a series of double round arches, inserted in the intervals between flat Norman-like buttresses. The arches are carved with chevron ornaments, and they spring from slender shafts, each having a square abacus and refined cushion cap. The bases rest on flat corbels, round which a string course breaks. All this Norman-like work is exceedingly fine, and very unlike genuine Norman design.
Its refined character shows that it is of transition style. On the upper story the spaces between the buttresses contain in each a single lancet window, with a nook shaft on each side, and bold first pointed mouldings in two orders in the arches. The shafts have strongly marked early first pointed features in the foliaged caps, with square abaci, central band, and beaded base resting on a string course stepped up to receive it.
The above design extends round the east end, and the whole of the north side, except the two bays at the west end of the latter, where the design is interrupted so as to admit of a porch which seems formerly to have existed there, but is now removed. The angle turrets have a nook shaft at each projecting corner like Norman work. They have now been restored on top with modern masonry.
The design of the interior of the north and east walls (Fig. 399) is very beautiful. It is carried out, like the exterior, in two stories. The lower story consists of a continuous pointed arcade, placed close to the wall, with single detached shafts and bold first pointed arch mouldings. The bases of the shafts rest on a stone bench 1 foot 6 inches high, and the caps are varied with rich transition and first pointed carving (Fig. 400). Curious trefoil and vesica openings are inserted in the spandrils. (Fig. 403.)
The upper story consists of a detached arcade, having a passage behind it in the thickness of the wall (Fig. 401). The arcade comprises an alternation of high and low pointed arches, two of the latter occurring between every two of the former. The shafts are alternately cinquefoil and double in section, as shown in the geometrical drawing (Fig. 402). All these details are prominently first pointed in style, the caps being elaborately carved with foliage of that period, and the mouldings being bold and distinct (Fig. 403). The little bits of foliage introduced at the points of the arches and ends of the labels and strings are also characteristic of early first pointed work.
That the design is late transition or very early pointed work is apparent from all the details. The lower story of the exterior having refined Norman ornaments, and the early date of the first pointed work being emphasised by the whole of the abaci of the caps being square in form, possibly this portion of the edifice may be due to restorations executed after the fire of 1216.
The portions of the south transept still left are very fragmentary, and there are now no traces of a north transept, although in Mr. Hunter’s plan some indications of such a structure are shown. At the north-west angle of the south transept there is an arch, which has been rebuilt, being partly made up of old fragments, but the lower part seems to be ancient. The lower portions of two piers on the east side of the transept still survive (Fig. 404), and exhibit good mouldings. These seem to have formed the piers between the transept and an eastern aisle. When
Grose’s views were drawn in 1789, one of the pier arches still stood, and a corresponding arch of the north transept is also shown as then existing. Part of the west and south walls of the transept, with the shafts (or at least the bases of the shafts) of an arcade, similar to that of the choir, is also still preserved. This building shows a doorway in the south-west angle.
Lying at a distance of 76 feet south from the church, and at a somewhat lower level, are the walls of a great hall (see Fig. 397.). The wall, which runs east and west, is fully 100 feet in length, and has attached to it pilasters of segmental form, measuring 1 foot 10 inches across, at
intervals of about 12 feet. From excavations recently made, the width of this building has been ascertained to be 28 feet. The south wall has been 5 feet in thickness, and seems to have been buttressed.
There are three doorways in the north wall, with steps leading down into the building. Part of the east wall also remains, in which is a recess 4 feet 6 inches wide, with splayed jambs, and having an ambry in the back of it. The structure has been vaulted, as is apparent from the remains of ribs and corbels. Part of it may have been the refectory. Unless steps are taken shortly to preserve this building, it will probably very soon disappear.
There seem to have been buildings along the east, extending from this hall to the church. These may have formed the eastern side of a court or cloister, of which the hall formed the southern side and the church the north side.
The east wall of the cloister, which partly remains, has traces of an old doorway (see Plan) about 4 feet 6 inches wide, now built up. It was secured by a sliding bar, the channel for which is still in existence. This doorway is shown in Cardonnell’s Picturesque Antiquities of Scotland as a round arched door. Above it is shown a pointed arched window, and at about 20 feet to the south a great pointed archway, not unlike the arching of the “Pends” at Arbroath. This great archway is also shown by Grose, but the above-mentioned doorway with the sliding bar is not seen in Grose’s view owing to a wall hiding it from his point of view; however, he shows the pointed arched window above. Both the above authors indicate that a wall ran eastward at right angles.
There are several grave-slabs at Coldingham, of which four are illustrated. Three of these are small in size, and the fourth is considerably larger. That shown in Fig. 405 has bevelled edges, with a foliaged cross containing thirteenth century carving. At the top of the cross there is a wasted bust, and at the foot there are Calvary steps. The slab measures 2 feet 2 inches high by 11½ inches wide at the top, tapering to 8 inches at foot. The other three crosses are apparently of a later date.
Figs. 406 and 407 are, like Fig. 405, of small size, the first measuring 32 inches high by 10⅜ inches at the top of the slab, and tapering to 8⅛ inches at the base, and the latter 27 inches high by 10 inches without taper.
Fig. 406 is of an elaborate and peculiar design. On the flat slab a shallow bead with a circular head encloses the design. This consists of two stars at the top, and then of three upright flat-beaded figures about 6 inches high, with corded lines across them; then a Greek cross, a star, and, finally, a double row of three stars. The arrangement of the stars somewhat resembles the similar features at the chancel arch of Legerwood, Berwickshire. The small slab (Fig. 407), which may be
supposed to have covered the grave of a child, appears also to have had an incised sword.
Fig. 408 is 5 feet 2 inches by 16½ inches at the head, tapering to 14 inches at the base, and has bevelled edges, with a flat bead at the sides only. It bears the incised outline of a sword, with a large carved knob for the pommel.
There are several stones at Coldingham preserved from an earlier church than the existing one. Fig. 409 represents one of these, being a Norman cushion capital from a respond. The fragment is 14¾ inches wide by 11 inches high.
Situated on the north bank of the Tweed (and, consequently, in Berwickshire), this once important abbey belonged to the series of monastic establishments founded in the twelfth century in the valley of the Tweed. It occupies a beautiful position amongst fine woods on an elevated peninsula, surrounded on three sides by a loop of the river Tweed, about five miles below Melrose.
It is said that a religious establishment existed here under the presidency of St. Modan, in the eighth century, but the evidence is scanty.
The monastery, of which the fragmentary remains are still visible, was founded, in 1150, by Hugh de Morville, Constable of Scotland, and received a charter from David I. The canons introduced into it were of the Premonstratensian order, from Alnwick, and, from their dress, were called White Friars.
A large part of the domestic buildings seems to have been erected within fifty or sixty years of the date of the foundation, as they are built in the transition style of the beginning of the thirteenth century. The church appears to have been in progress during the thirteenth century, as in 1242 the Bishop of St. Andrews, owing to the debts incurred in building the monastery, and other expenses, gave the canons permission to enjoy the revenues of the churches under their patronage—one of their number performing the office of vicar in each parish.
The canons took the oath of fidelity to Edward I. in 1296, upon which their property was restored to them. Their possessions were widely spread, and extended into several counties, as appears from letters addressed by Edward regarding them to the sheriffs in the counties of Fife, Berwick, Roxburgh, and Edinburgh.
Amongst the distinguished men connected with the abbey was Ralph Strode, a friend of Geoffrey Chaucer and John Wiclif. He devoted himself
to philosophic studies, and was the author of several works. In the fifteenth and sixteenth centuries Andrew Forman was superior of Dryburgh, a man much occupied with affairs of Church and State under James IV. and V. He was appointed, in 1501, to the Bishopric of Moray, and held at the same time the priories of Coldingham and Pittenweem, and the Commendatorship of Dryburgh. Afterwards he became Archbishop of Brouges, and finally Archbishop of St. Andrews.
Lying, as the abbey did, in the path of the invaders from the South, it received many unfriendly visits, and suffered much at the hands of
the English. In 1322 the monastery received a destructive visit from Edward II. on his return from an unsuccessful invasion of Scotland. His army camped in the grounds of the abbey, and next morning set it on fire, when great damage was done. Large contributions were received from Robert I. for the repairs of the damage thus caused.
The buildings were again destroyed, in 1385, by Richard II. on his retreat from Scotland, on which occasion he likewise burnt the abbeys of Melrose and Newbotle. In 1544 the edifice once more suffered at the hands of Lord Eure, when the fittings were carried off.
The abbacy was held in commendam from the beginning of the sixteenth century, and, in 1587, it was annexed to the Crown. Finally, it was erected into a temporal barony, with the title of Lord Cardross, in favour of the Earl of Mar, from whom it has passed, by purchase, through the hands of several proprietors.[196]
The monastery (Fig. 410) has consisted of the usual buildings surrounding the cloister, having the church on the north side, standing about ten steps above the level of the cloister garth. The sacristy, chapter house, fratery, and other apartments stretch from the transept southwards along the east side; and above these, on the upper floor, were the dormitories, entering by an open staircase from the south transept, in a similar manner to the dormitories at Pluscardine, Melrose, &c. Along the south side of the cloisters lay the refectory, which, owing to the slope of the ground, was raised on a basement floor of vaulted cellars. On the west side of the cloister garth there are now only a few vaulted cellars. A small stream runs along on the south-west side of the monastic buildings, and beyond the stream are the remains of what seems to have been a detached chapel.
The oldest portions of the structure are those forming the eastern range (Fig. 411), which, from their style of architecture, are evidently of transition date, or about the beginning of the thirteenth century. The sacristy is 28 feet long by 13 feet wide. It has a stone bench round the walls and three steps in the floor. There is a door from the transept and an outer semicircular-headed doorway of transition character from the cloister (Fig. 412.) Access is also obtained by a small door in the north side to a wheel-stair leading to the upper floors, and visible as a projecting turret at the south-east angle of the transept (see Fig. 412.).
The east window of the sacristy is remarkable, having two round-headed windows, surmounted by a visica-formed aperture (see Fig. 411.).
The sacristy has a piscina in the south wall near the east end.
The apartment next the sacristy is 28 feet long by 11 feet wide. It has now been appropriated as a mausoleum, but may have originally been a parlour. There is an ambry in the south wall near the east end. The doorway is semicircular, and of Norman character (see Fig. 412.).
The east window is plain, and consists of two round-headed openings enclosed in a large semicircle (see Fig. 411.). The above two apartments are on the level of the cloisters; but the floor of the chapter house, which is next in order, is several feet below the level of the cloister walk.
The ordinary central doorway and side windows opening from the cloister (see Fig. 412.) are, however, placed in their usual position on the level of the cloister walk. The door is thus some five feet above the floor, and if the doorway was used for access to the chapter house, it must have been provided with a stair down, of which there is now no trace. The