Part 5

“The deed of confirmation of the Benedictine Monastery still exists in the Vatican. It is dated the 9th December 1203, and is addressed to Celestinus, abbot of Saint Columba, of the island of Hy, and his brethren professing a religious life; and the pope takes the monastery of Saint Columba under the protection of Saint Peter and the pope, in order that the monastic order which has been instituted in that place, according to the rule of Saint Benedict, may be preserved inviolate in all time to come; and he confirms to them the place itself in which the said monastery is situated, with its pertinents, consisting of churches, islands, and lands in the Western Isles.”[32]

Celestine, the abbot of this monastery, appears to have attempted to thrust out the prior Celtic community; but the latter, with the support of the clergy of the north of Ireland, resisted and vindicated their right to remain in the monastery. The Celtic community, however, appear to have ultimately adopted the Benedictine rule, “while the functionary formerly known as the Head of the Culdees was represented by the prior of Iona, whom we afterwards find in the monastery.”

About 1200 the districts to the west of the great range of Drumalban, which formerly belonged to the diocese of Dunkeld, were separated from it and formed into a new bishopric, first called of Argyle and afterwards of Lismore.

During the fourteenth and fifteenth centuries Iona was under the Bishop of Dunkeld, but in 1507 John, Bishop of the Isles, obtained the annexation of Iona to his see, and the Abbey Church became the cathedral of the diocese, and so continued till the Reformation.

In 1561 the abbey suffered from the Act anent “demolishing all the abbeys of monks and friars, and for suppressing whatsoever monuments of idolatrie were remaining in the realm.” The carrying out of this Act was remitted to Argyll and Glencairn, and much has been written with regard to the great damage caused by the mob to the buildings and monuments and the valuable library.

The island passed into the hands of M‘Lean of Duart, but from 1567 onwards the Protestant bishops of the Isles seem to have had the abbey in their possession. The buildings, however, appear to have been neglected, and Charles I., in 1635, directed £400 to be spent in repairing them. But that does not appear to have been done, and by the end of the seventeenth century the edifices had fallen into ruin. In 1693 the island came into the hands of the House of Argyll, and within recent years the ancient buildings have been put in a good state of preservation by the present Duke.

The edifices which still survive in the island, although ruinous, exhibit probably the completest and most interesting group of ancient ecclesiastical structures in Scotland.

There is first the Chapel of St. Oran, a small twelfth century structure, surrounded by the very ancient churchyard, which contains so many beautiful specimens of Highland carved tombstones,[33] admirably illustrated by the late James Drummond, R.S.A., in his work on Highland monuments. Then there are the remains of the Benedictine Monastery, and those of the Benedictine Nunnery, at a short distance on each side of St. Oran’s, both of which, though sadly mutilated, still show the general plan of the church and domestic edifices of these monastic establishments more completely than any other Scottish examples.

The Church of St. Oran has already been described.[34]

The nunnery is also described among the Norman structures.[35]

The abbey or cathedral, which is now to be described, is classed along with the buildings of the third pointed period, as the greater part of the work connected with it belongs to a late date.

When the great distance of the Island of Iona from the centre of operations of mediæval architecture is considered, it is not unnatural to find those deviations from the rules and practice of the art which are so frequent in Scottish architecture even more accentuated here than is usual. The connection of the locality with the Celtic art of Ireland and the west of Scotland has also had considerable influence in moulding the style of the carving and decoration of the Cathedral of the Isles.[36]

These facts, although rendering the building somewhat difficult to class along with the general architecture of the recognised periods of Gothic in Scotland, yet add much to the interest of this isolated and unique structure.

It should also be noticed that the cathedral shows signs in all directions of having been much altered and added to; but as the style of the masonry of the walls is much the same throughout, whatever its date, it is somewhat difficult to trace the points of junction of the work of the various periods. This masonry of all dates consists of large blocks of red granite of irregular shape, set with flat untooled face to the outside, and with filling-in of smaller pieces of granite and slaty stones between the larger blocks.

The monastery (Fig. 982) consists of the church, which contains a

choir, 62 feet 6 inches long by 23 feet wide, with a south aisle; a nave, 60 feet 9 inches long by 22 feet 6 inches wide; north and south transepts,

and a tower over the crossing. The eastern part of the choir (Fig. 983) forms the presbytery, which, like that of most Scottish churches, is without aisles, and is lighted by a large central and two side windows, all containing late tracery. On the south side of the choir, west of the presbytery, is an aisle, separated from it by two circular piers and three arches. From above the caps of the piers two bold arches are thrown across the south aisle, after the manner of flying buttresses (Fig. 984). It will be observed from this view that there is a peculiarity of construction in the upper part of the choir walls, the clerestory windows being placed over the piers and not over the arches, as is usual. This arrangement has had the effect of preventing the flying arches or buttresses from being carried as high as they might have been (Fig. 985) had the windows been placed over the arches in the ordinary manner. The flying arches or buttresses are thus very low, and interfere with the space in the aisle (see Plan). There are a sedilia, with three divisions, and a piscina (Fig. 986) near the east end of the south wall of the choir. Part of the pavement there still exists, and two steps are observable in the floor.

On the north side of the choir is the sacristy, which occupies the place of the north aisle. The door to the sacristy (Fig. 987) is of fine design, and the ornament of the caps of the shafts (Fig. 988), together with the caps of the piers between the choir and the south aisle and the arches of the crossing (Figs. 989 and 990), exhibit fine examples of Celtic carving, mixed with grotesque figures. Carving of an identical description is shown in Figs. 991 and 992 on slabs in St. Oran’s Chapel, one of which, dated 1489, also exhibits late Gothic ornaments on the edge. This stone bears the following inscription, from which it would appear to be in memory of the father of Abbot Macfingone, and of the abbot himself (whose tomb and monument are preserved in the choir, as will be pointed out further on):--“Hec: est: Crux: Laeclanni: Meic: fingone: et: ejus: fil--Ohannis: Abbatis: de: Hy: facta: Anno: domini: Mº. CCCCLXXX: IXº. Numerous examples of carving of a very similar description occur throughout the West Highlands, and, where dated, are all of about the above period. The undated specimens are also distinctly in the same style and of the same epoch. There can, therefore, be no hesitation in assigning the sculpture in the cathedral, which is of a similar character (such as the caps in Figs. 988 and 990), to about the same date. The dog-tooth ornaments in Fig. 993 and other similar examples, which are not rare at Iona and throughout the Western Islands, are thus clearly a revival, at a late date, of ancient forms.

Close to the sacristy door, but raised to a considerable height above the choir floor, stands a round column (see Fig. 983), which supports two pointed arches. These arches appear to have opened into an upper aisle or chapel. They are carved with rows of dog-tooth or nail-head ornaments, which have the appearance of thirteenth century work; but as they are

much decayed, they are probably of the late date to which, as we have seen, many examples of imitation dog-tooth enrichments at Iona and elsewhere belong.

The parapet of the choir (see Fig. 984) is simple, and is supported on massive corbels, like those common in the castles of Scotland. The water of the gutters escapes by small apertures through the parapet.

The nave contains a good western doorway of late design (Fig. 994), with three orders of mouldings in the jambs, which have no caps, but have the jamb mouldings carried round the pointed arch. The nave and transepts have no aisles. The windows of the nave (Fig. 995) are much damaged. At each end of the south wall is a small single pointed light,

and there has been a triple light window, with tracery, in the centre. The single light window at the east end of the nave has a carved head, with a water table over it, inserted above the window. Part of the north

wall of the nave is demolished (see Fig. 994), and a door to the cloister near the west end has been built up (see Plan).

The north transept has two deeply-arched recesses in the east wall, containing small windows and a central arched recess, which seems to have contained a statue. This is apparently the oldest part of the whole edifice, the arches, shafts, and caps in the east wall (Fig. 996) having very much the character of transition work. A small window in the west wall, raised so as to be above the cloister roof (see Fig. 994), throws light on the point where the altar stood.

The south transept is 22 feet by 17 feet, and is lighted by a three light traceried window in the south gable wall (see Fig. 984), and a small window placed at a considerable height in the west wall (see Fig. 995). The parapet and corbel table are the same as those of the choir.

The crossing has four arches opening into the choir, nave, and transepts, which carry a tower, 29 feet by 25 feet, over the walls, rising to two stories in height above the eaves, and crowned with a plain parapet, supported on simple corbels (see Figs. 984 and 994). The upper story has rectangular windows on each face, three of them filled with tracery of late patterns, and the one on the north with a window containing simple tracery

(Fig. 997). The lintels are composed of straight arches, supported by a remarkable shaft on the inside, which recalls the turned shafts of pre-Norman work. The access to the tower is by a small wheel staircase at the south-west angle of the crossing. The original doorway of the staircase entered from the nave, but, after the Reformation, the adjoining

west arch of the crossing was built up, and a new door, with a small enclosing wall, was formed from the crossing into the wheel stair (as shown in the Plan). In the upper part of the tower are built recesses, as if meant for pigeons’ nests; and the upper floor in the roof of the

tower is lighted with slits in the wall near the corners, except on the south side, where a larger opening is introduced and filled with tracery (see Fig. 984).

The whole of the church has been roofed with timber, but is now quite open to the weather. The stone corbels intended to carry the principals of the roof still remain where the walls are complete (see Fig. 983).

Externally, the most prominent features are the buttresses and base course (see Figs. 984 and 995). These exist round most of the south wall of the nave, part of the south transept, and the east end of the choir. The angle buttresses have the general form, with bead on angle and sloping table on top, of thirteenth century work, and the broad, sloping base has also a similar character. Several small intermediate buttresses are introduced, which are in many cases awkwardly situated as regards the windows, being kept below the window sills. The base course on the south side of the nave is set at a level several feet above that of the south transept (see Fig. 995). It is stopped suddenly before reaching the eastmost bay of the nave. The base also stops equally suddenly on the west wall of the south transept, a few feet from the south-west angle buttress. The base course and buttresses would thus seem, where they exist, to indicate a rebuilding of those portions of the walls, the portions left without a base course being possibly older. Although the forms of the base course and buttresses are of early design, there is no doubt but that they are late erections, and that the forms and design are revivals or imitations of older features. Their association with the late doorway of the nave and the late traceries of the choir and south transept sufficiently proves their comparatively recent construction.

In the above general description of the cathedral, the probable dates of the various parts have been casually referred to. It is now proposed to explain more fully the dates we would assign to the different portions of the structure and the reasons for doing so.

Dr. Skene has the following footnote[37]--

“One of the columns which supports the great tower of the Abbey Church has on the upper portion the inscription, ‘Donaldus O’Brolchan fecit hoc opus,’ and seems to think that that inscription fixes the name of the builder of the church. Messrs. Buckler, in their description of the architecture of the cathedral,[38] give the above inscription as reading, ‘Donaldus ornatum fecit hoc opus.’”

The inscription is not now legible, but even if it were, it could give little clue to the date of the edifice.

There will probably be little difference of opinion regarding the antiquity of the east wall of the north transept (see Fig. 996). The character of the arches, shafts, and caps, even worn away as they are, is distinctly late Norman or transition. The small round headed windows in the recesses of the wide internal bays are also quite in keeping with that

style. The depth of the recesses on each side of the central arch, with its figure, which form a special feature, was rendered necessary by the extra width of the wall required (as will be pointed out further on) to admit of a passage in the thickness of the wall above. Almost all the rest of the church appears to be of a much later date, and to belong, with small exceptions, to the late fifteenth or early part of the sixteenth century.

Part of the crossing, however, is probably older; but the other portions of the crossing seem to have been rebuilt at a late date, as the following indications show. The original arches of the north and west sides have no mouldings, but are only chamfered, and the caps, so far as visible, have an ancient character. The north arch has, at some period, been strengthened by the insertion of additional piers, and an additional arch within the then existing piers and arch (see Plan). The old arch is distinctly visible in the wall, and portions of the old piers are also exposed to view.

The arches of the east and south sides of the crossing are of a different character from the above, the arches being fully moulded. The piers (Fig. 998) do not differ much from those of the older sides, and are all of an early form of design. The same character is kept up in the inserted piers of the north arch, although these must undoubtedly be later than the original piers. The mouldings seem all to have been imitated from early forms (such as we find in the choir arch of the nunnery).[39] The changes in the plans of the piers and mouldings, common in the central districts of the mainland, would be long in reaching this distant spot, and the old forms appear to have been, therefore, adhered to. Such continuations or imitations of early forms are very common in Scotland. It should be observed that the outer or central shaft of each pier has a fillet on its central line, which indicates (especially here) a somewhat advanced date (see Fig. 996). The bases are of a very late type, as also the caps, both of which differ from those of the earlier piers. From these facts we infer that the south and east sides of the crossing have been rebuilt at a late period, possibly at the time when the tower was erected. That part of the edifice is always justly regarded as being very late, and the rectangular windows and their tracery clearly support that view. If the above supposition is correct, then the insertion of the additional piers and arch under the north tower arch is explained. That addition would be made at the time the tower was built, in order to make sure that the support was sufficient to carry it. Similar extra strengthening was not necessary in the case of the west arch, as it already had sufficient piers and supports; and the additions to the piers of the north arch, which

previously were small, simply made them of similar strength to those of the west arch.

We therefore conclude that the original north and west arches and piers of the crossing are old, perhaps of the thirteenth century; while the east and south arches and piers have been rebuilt, and the additional piers and arch added to the north opening, probably when the tower was erected.

Let us now turn to the choir. When we consider the forms of the tracery of the three windows of the presbytery (see Figs. 983 and 984, and the north window in Fig. 999), the thickness of the mullions, and the number and smallness of their mouldings, there cannot be much difficulty in assigning these windows to a late date. The forms and decorations of the arches of the sedilia (see Fig. 986) also clearly indicate a late period. These are exceedingly good of their kind, and it is a misfortune that the Celtic ornament with which they are covered is now so far decayed as to be scarcely legible; but there can be no question as to the lateness of their date.

On turning to the south aisle the same impression is received. The circular and stunted form of the piers, with their remarkable bases and the peculiar form of their enriched capitals (see Figs. 989 and 990), strike one at once with the idea that they belong to a late and rather debased epoch. The insertion of the clerestory windows over the piers (an arrangement which is also met with at the nunnery) is bad construction, and led to the adoption of the low and poor flying buttresses (which are evidently an afterthought) as a means of steadying the main structure.

The north side of the choir is so peculiar in its arrangements that little can be gathered from it with regard to dates. If the pillar and

arches of the high chapel over the sacristy (see Fig. 983) are of thirteenth century work, as their ornamentation would at first sight lead one to suppose, they might possibly have been re-erected in their present position; but they are more likely to have been made in imitation of thirteenth century work, and built here at a late period. The section of the arch mouldings (Fig. 1000) is almost identical with that of the chapter house arches, which (as will be afterwards explained) are almost undoubtedly of very late date.

These arches gave a view of the altar from a high chapel, which, as will be pointed out, was perhaps connected with the library or dormitory. The chapel has been added to the church, and the walls are not bonded into the choir. The decoration of the upper portion, with its imitation dog-tooth or nail-head ornament round a straight sided arch (Fig. 1001), shows that it is of very late date.

This structure appears to occupy the position of the original north aisle, which at one time extended (or was contemplated) the full length from the presbytery to the north transept. The water table over the old aisle roof runs the whole length, and has a sloping water table where the roof abutted against the north transept. The old corbels to receive the timbers of the aisle roof also still exist. The aisle would no doubt block one of the Norman transept windows, but that could not be avoided.

The doorway from the choir to the sacristy (see Fig. 987) is a very fine feature, and one would be inclined to consider it somewhat earlier than the other parts of the sacristy and upper chapel. Possibly it may have formed an access to the aisle before the upper chapel was raised to its present position.