The ecclesiastical architecture of Scotland from the earliest Christian times to the seventeenth century; vol. 1/3MacGibbon, David
History
The ecclesiastical architecture of Scotland from the earliest Christian times to the seventeenth century; vol. 1/3
MacGibbon, David
Church architecture -- Scotland
Dundrennan Abbey, Kirkcudbrightshire, 388
Jedburgh Abbey, Roxburghshire, 398
Kinloss Abbey, Morayshire, 416
The Nunnery, Iona, Argyleshire, 421
St. Nicholas’, Aberdeen, 426
Coldingham Priory, Berwickshire, 437
Dryburgh Abbey, Do., 448
Airth Church, Stirlingshire, 465
Lasswade Church, Mid-Lothian, 471
Bathgate Church, Linlithgowshire, 474
THE ECCLESIASTICAL ARCHITECTURE OF SCOTLAND
FROM THE EARLIEST CHRISTIAN TIMES TO THE REFORMATION.
INTRODUCTION.
Among the various branches of Mediæval Art in Europe, the Church
Architecture of Scotland fills an interesting and valuable place. This
country cannot claim to have originated a new style in the sense in
which the Ile de France gave birth to pointed Gothic, but it can show a
continuous series of Christian structures, beginning with the primitive
cells and oratories of the early Anchorites, and extending through all
the periods of Mediæval Art.
Two distinct phases of artistic development are exemplified in the
History of Scotland--the first comprises the rise and decline of Celtic
Art in early Christian times, and the second is allied to the various
stages of general European culture.
Of the former period abundant illustrations exist in the almost
prehistoric examples of Celtic structures of early Christian recluses,
together with specimens of round towers and innumerable sculptured
memorials and crosses, somewhat similar to those found in Ireland. These
indicate the intimate connection which formerly existed with that
country, whence Scotland derived her name, as well as her early
instruction in religion.
The round towers and sculptured monuments are followed by primitive
examples of Norman work, pointing to the direction from which the later
phases of religious and artistic development in the country took their
origin. The Saxon and Norman influence of the eleventh century produced
a complete revolution in the artistic elements of the country, and led
to a full development of the Romanesque or Norman style of
architecture--a style similar to the round arched architecture of other
countries of Europe in the twelfth century. Of this new departure the
signs are still visible in the numerous remains of Norman structures
which are spread over the country. These consist chiefly of small parish
churches, but they also include some large and elaborate buildings,
almost entirely monastic, and one cathedral.
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