Only two of the pre-Reformation Cathedrals in Scotland have survived unimpaired the iconoclastic zeal of the Reformers. St. Andrews Cathedral, the seat of the Primate of Scotland, was partially devastated by the Protestant mob, and weather and storm completed the ruin thus begun. Dunblane Cathedral has recently been restored and rescued from the wrecked condition in which it lay for centuries. The restoration of Brechin Cathedral is now (1898) in progress; and the Cathedral of St. Giles, Edinburgh, has only been brought back to some of its pristine magnificence within the last quarter of a century. The two Cathedrals which escaped the fury of the Reformers are, the fanes dedicated to St. Mungo (St. Kentigern) at Glasgow, and to St. Magnus at Kirkwall, Orkney. Both these Cathedrals had Episcopal Palaces adjoining the main structures, and from the history of these it might be possible to spell out the conditions of life during their palmy days. As Glasgow Cathedral shows in a remarkable manner the gradual development of a great commercial city from a small ecclesiastical burgh, and thus supplies a connecting link between remote times and the present day, it will be most convenient to treat it as a typical example of the far-reaching influence of early ecclesiastical modes of life. Glasgow Cathedral occupies a very peculiar site. It is built on ground that slopes rapidly down from the level of the floor of the nave towards the bed of the Molendinar Burn. So steep is the declivity that a Lower Church--wrongly called the Crypt, but really an _Ecclesia Inferior_--is built under the floor of the Choir, only a few steps being necessary in passing from the Nave to the Choir, so as to give the requisite height to the roof of the "Laigh Kirk." Such a site would not have been chosen by a modern architect for a building of the same magnitude, because of the structural difficulties it presented; yet it has been asserted by Mr John Honeyman, an experienced architect who has made a special study of Glasgow Cathedral, that the whole design of this magnificent structure "was carefully thought out and settled before a stone was laid. It is a skilful and homogeneous design, which could only be produced by a man of exceptional ability and of great experience. Nothing has been left to chance or the sweet will of the co-operating craftsmen, but the one master-mind has dictated every moulding and every combination, and has left the impress of his genius upon it all." ("Book of Glasgow Cathedral," p. 274.) It is a remarkable fact that the name of this gifted architect is quite unknown, though a theory has been advanced that seeks to identify him with a certain John Morvo or Moray, a man of Scottish descent, born and trained in Paris, who was also architect of Melrose Abbey. But nothing absolutely certain is known as to the architect who planned Glasgow Cathedral; and this is no unusual circumstance in the history of other ecclesiastical buildings.