The ecclesiastical architecture of Scotland from the earliest Christian times to the seventeenth century; vol. 2/3MacGibbon, David
History
The ecclesiastical architecture of Scotland from the earliest Christian times to the seventeenth century; vol. 2/3
MacGibbon, David
Church architecture -- Scotland
THE ECCLESIASTICAL ARCHITECTURE
OF SCOTLAND
FROM THE EARLIEST CHRISTIAN TIMES TO THE
SEVENTEENTH CENTURY.
_Edinburgh: Printed by George Waterston & Sons_
FOR
DAVID DOUGLAS.
LONDON, SIMPKIN, MARSHALL, HAMILTON, KENT, AND CO., LIMITED
CAMBRIDGE, MACMILLAN AND BOWES
GLASGOW, JAMES MACLEHOSE AND SONS
THE
ECCLESIASTICAL
ARCHITECTURE
OF SCOTLAND
FROM THE EARLIEST CHRISTIAN TIMES TO THE
SEVENTEENTH CENTURY
BY
DAVID MACGIBBON AND THOMAS ROSS
AUTHORS OF “THE CASTELLATED AND DOMESTIC ARCHITECTURE OF SCOTLAND”
_VOLUME TWO_
[Illustration]
EDINBURGH: DAVID DOUGLAS
MDCCCXCVI
_All rights reserved._
PREFACE.
As this Volume contains drawings and descriptions of the examples of the
First Pointed and Middle Pointed Periods in Scotland, and, therefore,
illustrates the finest of our mediæval edifices, it may be convenient at
this stage to consider the position these buildings occupy in relation
to the general system of Gothic architecture in other countries. There
can scarcely be any question as to the Gothic style having been imported
into, and not being native to, this country. We have already seen that
the Norman style was gradually introduced from England, and was
afterwards superseded by the transition style. The buildings of the
first pointed period also show unmistakable indications of their design
having been brought from England,[1] while those of the middle pointed
period, although clearly allied in style to English examples, exhibit in
their details a few signs of other influences. Although many of our
Scottish edifices contain much beautiful work, and all are full of
interest, it must be admitted that even the best examples of Gothic in
this country cannot claim to give full expression to the fundamental
principles of the Gothic style as developed in its native home, the
Royal Domain of France.
The style being here an exotic, and being carried out rather as
imitative than as original, it is naturally to be expected that it
should disclose symptoms of departure from the spirit which animated
those by whom it was wrought out and developed. And that is, in fact,
the case.
Public-domain text, read in full here on John Shaqi.
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