The Ecclesiastical Architecture of Scotland from the Earliest Christian Times to the Teventeenth Century (Complete)
9781465651747
313 pages
Library of Alexandria
Overview
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. The succeeding Gothic styles are also well represented in Scotland, and include a great variety of churches, monasteries, and cathedrals. These exhibit many fine examples of the various styles of Gothic art, and, although comprising certain local peculiarities, show a general correspondence with the arts of the different periods in France and England. The “first pointed” style is fully represented in Scotland during the thirteenth century; but, owing to the disastrous situation of the country during the fourteenth century, the number of “decorated” buildings is comparatively small. During the fifteenth and sixteenth centuries, when the “perpendicular” style prevailed in England and the “Flamboyant” in France, the architecture of Scotland was distinguished by a style peculiar to the country, in which many features derived from both the above styles may be detected. While the Mediæval Architecture of Scotland thus corresponds on the whole with that of the rest of Europe, there exists in the Ecclesiology of the country an amount of native development sufficient to give it a special value as one of the exponents of the art of the Middle Ages. Its buildings further contribute largely to the illustration of the history of the country by showing in their remains the condition and growth of its religious ideas and observances at different epochs, and the manner in which its civilisation advanced. We observe striking evidences of the Irish influence in the relics of the primitive Celtic Church. The Norman and Early English influences are clearly traceable up to the invasion of Edward I., and the political and commercial connection with France and the Netherlands is distinctly observable in the period of the Jameses.
