The main arcade is carried round the east end of the choir (Fig. 589).
To accomplish this, with arches of about the same width as those of the side aisles, the wall had to be divided into two bays having a central pillar, which is not a pleasing feature. Above the main arcade rises the east wall of the cathedral, pierced with four graceful lancets (see Fig. 591).[65] This arrangement of a central mullion in the large upper window was almost rendered necessary in order to carry up the design of the single pillar in the centre of the main arcade, otherwise a central light, as at Salisbury, would doubtless have been preferable.
Churches with an eastern ambulatory are occasionally to be met with in England, a fine example being the church of the Abbey of Dore, in Hertfordshire. This ambulatory aisle is the British equivalent for the aisle which is generally carried round foreign apses, and from which the apsidal chapels open.
A similar plan to that of the eastern end of Glasgow Cathedral was reproduced at Rosslyn Collegiate Church two hundred years later, although with very different details and on a greatly reduced scale.
Each bay of the choir (see Fig. 589) rises from clustered pillars having numerous attached shafts and mouldings (see Fig. 587), and caps elaborately carved with first pointed foliage. The triforium gallery contains two pointed openings, each embracing two smaller arches, and having trefoil and quatrefoil apertures in the spandrils. The clerestory consists of a double wall, with passage between. It has three pointed lights of equal height in the outer wall, and three corresponding openings in the interior, with boldly moulded shafts and arches. A small sharply pointed arch is introduced at each side of the main vaulting shafts. The caps on each floor are all of rounded form.
The south doorway of the nave (Fig. 591) (now forming the principal entrance to the church) is, like that of the lower church, inserted between two buttresses; but it has no projecting porch, and finishes with a flat roof, above which the top of an ordinary traceried window is seen in the plane of the wall. To give importance to this entrance the flanking buttresses are finished at the top with niches for statues, and in connection with the corbels under these occur the only pieces of foliaged carving to be seen in the whole nave.
The western doorway (see Fig. 569) contains two openings with a solid mullion between. This part of the structure has evidently been greatly repaired and altered when the western adjuncts above referred to were removed.
The whole of the cathedral is vaulted except the central alleys of the nave and choir. Vaulting shafts are carried up in the nave (Fig. 592) from the string course above the main arcade, and in the choir (see Fig. 589) from the caps of the main piers to the wall head, as if the idea of vaulting the central area had been contemplated; but it is quite
evident from the smallness of the buttresses of the clerestory (Fig. 593) that the walls were not calculated to resist the strain which such a vault
would have brought against them. The present vaulting beneath the central tower is modern, as also are the plaster ceilings of nave and choir. The vault of the north aisle of the choir has ribs of an early form, while those of the south aisle are of a later design (Fig. 594). On the panels of the latter vault there are a number of figures, comprising the symbols of the evangelists, &c.
The bays of the nave are divided by clustered piers of smaller size and later shape than those of the choir (see Fig. 587), and the moulded caps (which follow the outline of the shafts and hollows of the piers) are also of later character. Each bay of the triforium and clerestory (Fig. 592) is divided into two openings, and has shafts running up through the whole height, which unite the two stories into one, a design which produces a striking effect. The triforium openings of the nave, although not without great vigour, are perhaps the most rudely executed features in the whole building. The jamb and arch mouldings accommodate themselves to each other in an awkward manner, and the fitting in of the uncouth trefoil tracery is quite a contrast to the fine finishing of the clerestory above. It is not easy to account for the careless work in the triforium, as the upper part of the nave appears to have been all executed about one period. The coarse workmanship is much more striking in the building than can be shown by drawings on a small scale.
The windows of the aisles, in the choir and part of the nave, are very much alike and very simple in design, and some of them are grouped and contain rudimentary rather than real tracery. Some of these are visible in the choir in Fig. 593, and Fig. 595 shows one in the north aisle of the choir, which may be taken as a specimen. It consists of three lancets separated by mullions, which might rather be described as portions of the wall with small buttresses attached, and the whole enclosed within one arch, having the spandril above pierced with a quatrefoil and two trefoils.
The tracery of the windows on the south side of the nave is simple, but completely formed (see Fig. 590), each window having two mullions and three trefoils in the arch head. Those of the clerestory have each a central mullion divided in the arch into two branches (Fig. 596).
The tracery in the great windows in the west end (see Fig. 569) and in those of the north transept (see Fig. 593) and south transept is modern, and it is not easy to determine how far the designs follow the originals. The north transept window (see Fig. 596), which was “taken down and rebuilt,”[66] looks, from the simplicity of its design, to be probably like what the original may have been. Regarding the other two great windows, one cannot be so sure. The great buttress enclos-
*ing the staircase at the north-west angle of the north transept (see Fig. 596) is a noteworthy feature, differing as it does from the other buttresses flanking the end walls. It occupies part of the space which naturally falls to the eastmost window of the nave aisle, and this opening, instead of being designed as a smaller window to fit the space, is treated with the same design as the others, and thus presents the appearance of having been cut in two. In each of the four great gables the vesica aperture occurs; and this, along with the constant repetition throughout the whole building of certain features, such as the parapets with their supporting corbels, the peculiar gargoyles, the slender buttresses in the clerestories, and the terminations of the main buttresses, all show that the keynote of the design struck by the early builders was taken up and continued by their successors. As above pointed out, this, no doubt, partly arose from the lower portions of the whole structure having been begun at an early period, though, in part, not finished till a later time. Even in the chapter house building (Fig. 597), the upper story of which is of a distinctly Scottish character, the continuation of early features has not been lost sight of. Here the details of the church built by Bishop Bondington in the thirteenth century furnished models for the work even of the fifteenth century. The lower windows are similar in form, the parapets of the chapter house wing are continued round at the same level as those of the aisles of the choir, and the buttresses are also similar. Attention may be drawn to the curious treatment of the upper water tables of the buttresses of this wing. The slope is divided into two halves, one half rising a little higher than the other.
The chapter house wing is two stories in height, and the staircase finishes on top (Fig. 598) with a cape house, after the manner of the pele towers. This wing measures on Plan about 30 feet square internally, and has a central pillar supporting the vaulting on both floors. The chapter house, which is on the ground floor, was, as we have seen, left in an unfinished state in the thirteenth century. In the early part of the fifteenth century, Bishop Lauder has evidently recommenced work at it.
The wall shafts (see Fig. 584), with their early section and first pointed caps and bases, have the appearance of being older than his time; but the Dean’s seat, which has been inserted in the east side (Fig. 599), is part
of his work. It is in the design of that period, and contains the following inscription along the top—viz., Wilms: fuda: instut: Caplm: Dei, which Archbishop Eyre thus renders,[67] “William laid the foundation of this chapter house in God’s honour.” The William referred to was Bishop William Lauder, whose arms (a Griffin Segreant) occur on a shield on the lintel below the inscription. The shield is surmounted by the bishop’s crosier.
The shield of Bishop Lauder is also inserted on the exterior of the west side of the chapter house. It is shown on a slab in Fig. 600, and is a characteristic piece of heraldic decoration. Fig. 600 shows the upper apartment or sacristy.
The completion of this wing was carried out by Bishop Cameron, who built the upper story, or sacristy, and vaulted the building. It is not quite clear whether the vaulting of the lower story was executed by Bishop Cameron or Bishop Lauder. The central pillar (Fig. 601) is late, and the boss of the north-west compartment seems to contain the Cameron arms. The groin ribs (A) are of early form, while those of the sacristy (B) are of a late section. The vaulting springers of the chapter house may have been built at the same time as the chapter house shafts—i.e., in the thirteenth century—and completed in the fifteenth century with the same section as they were begun with; while the groins of the sacristy, being entirely of fifteenth century work, are of the section of that period.
The shields in the bosses of the chapter house are somewhat difficult to decipher; but that in the south-east bay may possibly represent the royal arms of Scotland and England impaled, and stand for James I. and his wife, Margaret Tudor.[68] King James returned to Scotland in 1424, about which time the chapter house vault may have been built.
The upper chamber is undoubtedly the work of Bishop Cameron. The central pillar has two shields in the capital. That fronting a person entering contains the royal arms, surmounted by a crown (see Fig. 600); and the shield on the opposite side contains Bishop Cameron’s arms. There is here an analogy with the central pillar of the chapter house of Elgin Cathedral, where the royal arms and those of the bishop by whom it was completed are carved on the capital. The Cameron arms also occur in the cap of the wall shaft opposite the coat above referred to, and likewise over the fireplace (see Fig. 600).
The sacristy contains, as shown in the sketch (see Fig. 600), stone built projecting cupboards and a large fireplace. The arms of Bishop Cameron on the mantel above the latter contain an example of how heraldry and architecture may be made to work together; one of the members of the cornice over the fireplace being continued across the shield, so as to form one of the fesses of the Cameron coat. A wide wheel stair close to the entrance connects the chapter house and the vestry above. A shield containing a bull’s head, the arms of Bishop Turnbull, is inserted in the outside of the west wall, near the top. The wing may have been completed by that prelate.
Mr. Honeyman[69] conjectures that the Rood screen (Fig. 602) which is erected between the eastern piers of the central tower was built by Bishop Cameron. It contains a staircase in the space in the north side, and in the opposite side are cupboards for containing church vestments. In front of the screen there are two fine stone altars, that on the south side being known as the altar of St. Mary of Pity, and that on the north side as the altar of the Holy Cross. The arms and initials of Archbishop Blackadder (Fig. 603) are carved on the ends of both of these altars.
The rood screen with its two altars, although evidently a late work, adds considerably to the picturesque effect of the interior of the cathedral. It has a large, deeply-recessed and moulded doorway in the centre, the arch of which is of elliptical form, and has the jamb mouldings (Fig. 604) continued, without caps or break, round the arch head. On each side of the doorway the surface of the wall is covered with shallow panels having trefoiled arch heads. A corbel in each of these panels (now cut off) once supported a statue, and these would add much to the effect of the structure. The cornice is large, and is surmounted by an open parapet containing quatrefoils, and having standards running up in the centre of each alternate quatrefoil. The standards are ornamented with small pinnacles, and are supported on corbels, each of which contains two human figures, which recall similar carvings at Rosslyn Chapel, but are of finer execution.[70]
The structure begun to be erected in continuation of the south transept has already been referred to. The building (see Fig. 571) is 57 feet in length by 25 feet in width internally, and comprises four bays in the length and two in the width, supported on three central pillars. The entrance is from the wide landing of the staircase in the south transept leading down to the lower church, from which point a series of wide steps leads down to the floor. From these steps a good view is obtained of the interior (Fig. 605).
The pillars are all moulded and provided with caps and bases, and the arches springing from them have numerous moulded groins with large foliaged bosses at the intersections. A substantial stone bench surrounds the outer walls; on this rest the bases of the responds and the sloping sills of the windows. Externally the building is plain (see Fig. 593), and has evidently been prepared for an upper story. It has a heavy moulded base, which is returned round the buttresses. The section of this base (see Fig. 573) is different from those of the nave and choir, and is doubtless later, the base of the main building being (as above mentioned) carried through this wing, which abuts against it. The buttresses of the main building are also carried down to the base, and the walls and arches of the crypt abut upon them. The doorway is evidently much older than the crypt. The windows have plain tracery, and over each window is a small panel containing a piece of sculpture, probably representing subjects from a mediæval bestiary, such as those referred to in Vol. I. p. 19. They look older than the building in which they are inserted.
It is conjectured from the following inscription on the vaulting, “This is ye ile of Car Fergus,” that this structure was begun at an early period, and that it was completed by Archbishop Blackadder, whose arms, surmounted by his mitre, are carved on the central buttress at the south end, and also on the corbel of a niche at the north-west angle. It is difficult to decide either the date or the purpose of this structure. It
has evidently been intended to be carried higher, and probably may have been meant to form an extension of the transept. Although the work in the interior has considerable resemblance to that in the lower church, it is decidedly later, and has been copied from it. The work on the exterior is very much inferior, and the carving of the caps, which seems also to be imitated from that of the choir, is evidently late and debased. The groin ribs, too, are coarse, and point to about the time of Bishop Blackadder.
The western towers or adjuncts, already mentioned (see Fig. 567), were structures of considerable importance, that on the south-west being a very strong keep, about 34 feet by 32 feet, with walls 9 to 10 feet thick, strengthened by great buttresses. It was about 54 feet in height to the parapet, and 70 feet to the cape house roof. This structure is believed to have been built about the middle of the fourteenth century. Those who know anything of our pele towers can easily understand how much the cathedral was marred by the loss of such a characteristic feature.
The other structure which stood at the north-west angle was of about the same size, but was considerably higher, being 118 feet to the parapet, and was surmounted by a lead-covered spire. Both the above adjuncts were taken down in 1846.
The ancient monuments in the cathedral are comparatively few, those which survive being all of the sixteenth and later centuries. Two of these are seen in Figs. 588 and 590, which show that the design of that period is well represented.
Another of these sixteenth century monuments is shown in Fig. 606, erected in memory of the barons of the House of Mynto. This monument is noteworthy from its possessing one of the few examples of old brasses in Scotland. The brass (Fig. 607) represents one of the barons in armour kneeling and looking towards the sun, surrounded with rays in the upper corners.
The Bishoprics of Brechin and Dunblane were founded towards the close of the reign of King David I. from the remains of the old Pictish Bishopric of Abernethy. Although a religious establishment had existed at Brechin previously, it had no claim to represent an old Columban monastery. The earliest notice of Brechin is that in the Pictish chronicle which narrates that King Kenneth, son of Malcolm, who reigned from 971 to 995, gave the great town of Brechin to the Lord. The dedication of the church to the Holy Trinity also indicates a comparatively late date. This church, like many others founded after King Kenneth Macalpin’s restoration of the Irish priests in the middle of the ninth century, emanated from the Irish Church, and was assimilated in character to the Irish monasteries. To this connection is, no doubt, attributable the famous round tower which still exists at Brechin.
The next notices of Brechin occur in the reign of David I. In the early part of his reign a charter to the Church of Deer is witnessed by “Leot, Abbot of Brechin,” and a later charter is witnessed by “Samson, Bishop of Brechin.” The abbot had probably, in the interval, become the bishop, while the abbey was secularised and passed into the possession of a lay abbot, and a community of Keledei under a prior. These formed the chapter of the diocese till they were superseded by a regular cathedral chapter. In 1218 the Keledei are distinguished from the chapter, and in 1248 they entirely disappear.[71]
Several of the bishops of the diocese were men of note, and rendered important services during the War of Independence and in connection with the redemption of David II. from captivity, and, in consequence, obtained privileges to the town. The cathedral was also largely benefited by the Earl of Crawford, and received liberal grants from the Stewarts, Earls of Atholl. There is, however, little to be gathered from the accounts of the lives of the bishops regarding the history of the structure of the cathedral. Almost the only statement bearing on the subject is that the vicar of the parish of Lethnot, in fulfilment of his obligation, “delivered to Patrick, Bishop of Brechin (1354-84), a large white horse, and had also given a cart and horse to lead stones to the building of the belfry of the Church of Brechin in the time of Bishop Patrick.”[72]
The gradual declension of the bishopric and the loss of the church property followed the usual course. A precept by James III., in 1463, states that, through the profligacy of the bishop and canons, the revenues of the cathedral had been greatly reduced by frequent alienations of its property, and, in consequence, steps were taken and some of the lands were restored, or an annual feu-duty paid for them.
After the Reformation, Alexander Campbell was bishop from 1566 to 1610. By a grant in his favour he was empowered to sell, for his own benefit, all revenues and properties belonging to the see then vacant, or which might become vacant. Of this power the bishop freely availed himself, both for his own interest and also for the benefit of his powerful patron, the Earl of Argyll. His example was speedily followed by the archdeacon, chancellor, and presbyters, who, on various pretexts, disposed of their houses and lands. By these means the property of the cathedral was lost to the church and passed into the hands of laymen.
The cathedral continued to be used after the Reformation for Protestant worship, and, according to Mr. Black, the edifice was little interfered with till 1806. Before that period he describes it as a handsome Gothic building, consisting of a nave with two aisles, and a transept formed by an extension of these aisles to the north and south. Mr. Black also states that there is no appearance of there ever having been any pillars or arches in the transepts, and questions whether the choir was ever finished, or if there was anything more than a lady chapel. The appearance of the cathedral in the end of last century is shown in Grose’s view.
In 1806 great alterations were made on the edifice. The north and south transepts were removed, new and wider aisles were built on each side of the nave, and the outer walls of the aisles were carried to such a height that the whole nave could be covered with a roof of one span (Fig. 608), “thus totally eclipsing the beautiful windows in the nave, and covering up the handsome carved cornice of the nail-head quatrefoil description which ran under the eaves of the nave.”[73]
The windows of the clerestory (three on each side), which are now concealed by the roof, are peculiar in their arrangement, being placed over the piers instead of over the centre of the arches, as is usual. Externally they have plain splays, and internally they seem to have been richer, but are now obscured by plaster. The windows and the dog-toothed cornice seem to point to an early date.
The only parts of the interior of the nave spared during the above restoration are the main piers, of which there are eight (Fig. 609), with four responds. Two of these piers seem to indicate, from their form, so far as not damaged, that this part of the structure must originally have been of first pointed work. The piers on the south side are octagonal, and those on the north side are alternately octagonal and clustered. A remarkable feature of the building is observed in connection with these piers, those of the south side, together with the arcade above them, being considerably thinner than those of the corresponding parts of the north side. As the clerestory walls above are the same on both sides, it is difficult to account for the difference in size of the piers. The interior of the nave is 83 feet 6 inches in length by 57 feet 6 inches in breadth. Fortunately part of the west end has not been interfered with,
notwithstanding all the alterations, and there we still have the original transition doorway, flanked by the fifteenth century tower on the north, and the famous round tower on the south (Fig. 610). At the east end of the nave are preserved portions of the ruined side walls of the aisleless choir, a beautiful example of first pointed work (Fig. 611).
The most interesting, as well as the most ancient, structure connected with Brechin Cathedral is the round tower, 103 feet in height, which is now incorporated with it, and occupies the place of a spire at the south-west angle (see Figs. 608 and 610). This and the corresponding round tower at Abernethy,[74] on the south side of the Tay, are the only representatives on the mainland of Scotland of this special kind of erection. At Egilsay, in Orkney,[75] is found the only other round tower of this kind in the country.
These round towers have given rise to much controversy as to their date and use, but the whole of our knowledge regarding them has been admirably summed up by Dr. J. Anderson, in his Scotland in Early Christian Times, p. 52. It is there shown that these round towers are outliers of a group of which Ireland is the home. As has been pointed out in the Introduction to the first volume, the period of the Irish round towers is comprised between the end of the ninth century and the beginning of the twelfth century. We have above seen that the first church in Brechin was founded by a colony of ecclesiastics, after the Irish model, about the beginning of the eleventh century, and the probability is that the tower was erected during that century. Brechin is said to have been destroyed by the Danes in 1012, and it seems not unlikely that the monks there would follow the plan adopted in Ireland in the case of similar invasions, in order to protect their valuables—viz., to erect a strong detached round tower as a place of refuge and security. The Brechin tower corresponds in all its features with Irish examples. The detached situation; the circular form tapering from the projecting base to the summit; the doorway raised 6 feet 6 inches above the ground, and ornamented with details and sculptures similar to those of Irish models; the division into stories by means of internal string courses to sustain wooden floors, but without any means of access except ladders, and lighted by two small windows with inclined jambs; the four large windows at the top facing the cardinal points; the ornament of the cornice and the pointed roof (although this, no doubt, is a later restoration), are all elements distinctive of the old Irish round towers. The stones of which the tower is built are large, and they are cut to the circle, but are not laid in regular courses. The tower measures 86 feet 9 inches to the base of the sloping roof. It is divided into seven unequal stories, with string courses in the interior.
The Irish round towers are divided by Miss Stoke’s classification into four periods; and the nature of the masonry of the Brechin Tower corresponds with the third of those periods, which in Ireland would be the first half of the tenth century, but in this derivative example would, doubtless, be somewhat later.
The doorway, with its sculpture (Fig. 612), is especially interesting. It presents features all characteristic of its Irish originals. The aperture is small, and the jambs are inclined inwards towards the top. They are in single stones the full breadth of the wall, and are covered with a
single stone, hollowed out into a semicircular arch. The arch has two such stones in the thickness. The sill is also in one stone. These stones are all dressed and carved with an architrave-like figure running all round the doorway, enriched with a flat pellet ornament, a form of frequent use in Irish examples. On the summit of the arch is carved a crucifixion, with the legs not crossed. In the round tower at Donoughmore, County Meath, a representation of the Crucifixion occupies a similar position over the head of the doorway. Dr. J. Anderson gives the following minute description of the sculpture of the Brechin Tower:—“In the middle of the height of the jambs on either side are raised panels, bearing figures in relief of men habited as ecclesiastics. One bears a pastoral staff of the form peculiar to the early Celtic Church, having a curved head resembling that of a walking-stick. The other bears a book on his breast, and carries a cross-headed or tau-staff, which is of exceedingly rare occurrence either in this country or any other. At the lower part of the jambs on either side are the figures of two crouching beasts. One is a winged griffin, and both bear a close affinity to the figures of nondescript creatures carved on the early sculptured memorial stones.”[76] On each side of the arch of the doorway are two projecting blank panels, apparently intended for sculptures never executed.
When the Bishopric of Brechin was founded by King David, a church would, no doubt, be erected, but of that structure not a fragment remains. Of the existing building the western doorway (Fig. 613) presents the oldest feature. It is 5 feet 9 inches wide, and deeply recessed, the jambs being enriched with five detached shafts set in a series of nooks, and having moulded caps and bases, the caps with round abaci. The arch is pointed, and contains five orders carved with numerous bold mouldings, some of which present details showing the remains of a highly relieved chevron, a lingering form of Norman enrichment, together with rows of dog-tooth ornaments. The whole effect is simple and massive, and corresponds with other examples of early first pointed work, which may be assigned to the early part of the thirteenth century.
The upper and the southern parts of the west façade (see Fig. 610) have been rebuilt at a later period. The portion over the doorway contains a fine example of late decorated tracery in the large western window, and the rebuilt portion to the south contains a niche, which is rather eccentrically introduced (see Fig. 613).
As mentioned in the foregoing historical notes, we have an indication that the north-west tower or “belfry” was apparently in course of construction between 1351 and 1373. To judge from some of the features of the building, it must have been a long time in erection. It was probably begun before the above date, and the lower part may have been built during the thirteenth century. The design of the angle caps (Fig. 614) which support the vaulting of the ground floor is of a decidedly first pointed character. Possibly these capitals may have belonged to an older tower, and were simply reused in the reconstruction of the existing tower. The peculiar vaulting of the ground floor of the tower (Fig. 615), and the form of the base and other details, point to a later date than that of the capitals. The upper part of the tower containing the fine belfry windows (Fig. 616) may be classed as decorated work, and probably belongs to the time (fourteenth century) of Bishop Patrick, above referred to. The spire is doubtless later, having a series of lucarnes such as are usual in the spires of the third pointed period. The effect of the tower and spire is good. It is the completest and best remaining example of its kind in Scotland. The tower is 70 feet in height, and the octagonal spire is 58 feet high. Some portions of the parapet have been altered and restored.