The nave of Jedburgh Abbey, one of the most complete Romanesque buildings to survive in Scotland.
Church architecture in Scotland incorporates all church building within the modern borders of Scotland, from the earliest Christian structures in the sixth century until the present day. The early Christian churches for which there is evidence are basic masonry-built constructions on the west coast and islands. As Christianity spread, local churches tended to remain much simpler than their English counterparts. By the eighth century more sophisticated ashlar block-built buildings began to be constructed. From the eleventh century, there were larger and more ornate Romanesque buildings, as with Dunfermline Abbey and St Magnus Cathedral in Orkney. From the twelfth century the introduction of new monastic orders led to a boom in ecclesiastical building, often using English and Continental forms. From the thirteenth century elements of the European Gothic style began to appear in Scotland, culminating in buildings such as Glasgow Cathedral and the rebuilt Melrose Abbey. Renaissance influences can be seen in a move to a low-massive style that was probably influenced by contacts with Italy and the Netherlands.
From the mid-sixteenth century the Reformation revolutionised church architecture in Scotland. It resulted in a rejection of the elaborate ornamentation of existing churches. New churches were produced in a plain style, often with a T-plan that emphasised the pulpit and preaching. This style was adopted by both Presbyterian and Episcopalian wings of the Scottish Kirk, but there were some attempts to introduce Baroque elements into church building after the Restoration. In the eighteenth century the influence of James Gibbs led to churches that employed classical elements, with a pedimented rectangular plan and often with a steeple. This classicism continued into the early nineteenth century, but became increasingly controversial and began to be rejected for a version of the Gothic Revival, which flourished into the early twentieth century. Between the world wars, a form of Neo-Romanesque became the norm for new churches. In the second half of the twentieth century new churches were highly influenced by Modernism, resulting in rectangular and irregularly shaped buildings, built in new materials, although many of these were later demolished. As the level of new building reduced from the 1970s there was a move to functional and unambitious new churches, but in the 1980s there was a move back to more striking and original designs.
The introduction of Christianity into Scotland from Ireland from the sixth century led to the construction of the first churches. These may originally have been wooden, like that excavated at Whithorn,[1] but most of those for which evidence survives from this era are basic masonry-built churches, beginning on the west coast and islands and spreading south and east.[2] Early chapels tended to have square-ended converging walls, similar to Irish chapels of this period.[3] Medieval parish church architecture in Scotland was typically much less elaborate than in England, with many churches remaining simple oblongs, without transepts and aisles, and often without towers. In the Highlands they were often even simpler, many built of rubble masonry and sometimes indistinguishable from the outside from houses or farm buildings.[4]
Monasteries also differed significantly from those on the continent, and were often an isolated collection of wooden huts surrounded by a wall.[5] At Eileach an Naoimh in the Inner Hebrides there are huts, a chapel, refectory, guest house, barns and other buildings. Most of these were of timber and wattle construction and probably thatched with heather and turves. They were later rebuilt in stone, with underground cells and circular "beehive" huts like those used in Ireland. Similar sites have been excavated on Bute, Orkney and Shetland.[3] From the eighth century more sophisticated buildings emerged.[2] The development of early ashlar masonry produced block-built stone buildings, like the eleventh century round tower at Brechin Cathedral and the square towers of Dunblane Cathedral and The Church of St Rule.[2]
Dalmeny Kirk, one of the finest Romanesque churches in Scotland
After the eleventh century, as masonry techniques advanced, ashlar blocks became more rectangular, resulting in more stable walls that could incorporate refined architectural moulding and detailing that can be seen in corbelling, buttressing, lintels and arching. At the same time there was increasing influence from English and continental European designs, known as Romanesque. The Romanesque style had its origins in Roman building techniques and early churches in the Byzantine Empire and Italy[6] and was characterised by massive reinforced walls and round arches that could bear the weight of rounded barrel vault roofs.[7] The introduction of this style to Scotland is associated with the ecclesiastical reforms that began in the reign of Máel Coluim III (r. 1058–93), bringing continental ideas of monasticism and church organisation to the country. The oldest Romanesque church in Scotland is probably the small chapel built for Máel Coluim's wife Margaret on Castle Rock, Edinburgh, with a vaulted semi-circular apse.[6] In the twelfth century a number of new parish churches were built by lords on their land. They were often small aisless buildings with two or three connected cells, each of diminishing size, ending in a rounded apse. One of the best preserved is at Dalmeny in Lothian.[8]
St. Regulus Chapel at St. Andrews dates from around 1150 and was probably built as a reliquary church. Only the aisleless choir and tall square tower survive. Its detailing derives from work on a church at Wharram-le-Street in England and it may have been carried out by the same Yorkshire masons.[9] The first monastic establishment built in the Romanesque style was Dunfermline Abbey, begun at the behest of Queen Margaret about 1074. An existing small chapel was expanded with a square choir and rounded apse. About fifty years later it was replaced by a grander cruciform church of which only the nave now survives.[10] The chevron pattern in the detailing on the piers was modelled on that at Durham Cathedral.[2] Similarly, St Magnus Cathedral in Orkney, begun in 1137, may have employed masons who had worked at Durham, with which it shares a similar pattern of great round arches based on thick cylindrical pillars.[11] The arrival of the new monastic orders in Scotland from the twelfth century led to a boom in ecclesiastical building using English and continental forms, including abbeys at Kelso, Holyrood, St Andrews[11] and Jedburgh, one of the most complete Romanesque buildings to survive.[12]
Melrose Abbey, one of the most elaborate Gothic buildings in Scotland
The style that developed from the Romanesque, originating in twelfth-century France, is now known as Gothic. It was characterised by pointed arches, ribbed vaults and flying buttresses.[2] It was brought to Britain by the Cistercians, whose abbeys retained thick walls, but pierced them with lancet arches with slender pointed arches. This style became characteristic of the early Gothic in Britain and can be seen at Dundrennan Abbey, begun around 1142, which resembles religious foundations in northern England.[13] The style can also be seen in the East end of Elgin Cathedral, which incorporated typical European Gothic mouldings and tracery.[2]
The Apprentice Pillar in Rosslyn Chapel, one of the most elaborate surviving examples of the late Gothic style
A more elaborate style known as decorated Gothic, applying ornamentation to vaults and pillars, particularly using curved motifs, began to be adopted in the thirteenth century and was characteristic of Scottish church building in the fourteenth century. It was used at Dunblane Cathedral, built in the thirteenth century, particularly to decorate the nave and East end. At Fortrose in the Highlands the elaborate decoration of this style is still visible in the south aisle. One of the finest examples is Sweetheart Abbey near Dumfries, a Cistercian monastery, named after the burial of John de Balliol's heart alongside the body of his wife.[14] The period of the Wars of Independence (1296–1357) saw a large number of ecclesiastical buildings ruined, including Melrose and Jedburgh Abbeys. Church building was largely confined to the parish churches in the relatively secure areas like Fife, as at St. Monans, originally a church of the Dominican friars.[15]
In the fifteenth century, continental builders are known to have been working in Scotland. French master-mason John Morrow was employed at the building of Glasgow Cathedral and the rebuilding of Melrose Abbey, both considered fine examples of Gothic architecture.[16] Compared with after the Reformation, the interiors of churches were often elaborate, with highly decorated sacrament houses, like the ones surviving at Deskford and Kinkell.[4] The carvings at Rosslyn Chapel, depicting the progression of the seven deadly sins, were created in the mid-fifteenth century. They are considered some of the finest in the Gothic style.[17] Late Medieval Scottish churches also often contained elaborate burial monuments, like the Douglas tombs in the town of Douglas.[4]
The impact of the Renaissance on ecclesiastical architecture can be seen in the re-adoption of low-massive church building with round arches and pillars, in contrast to the perpendicular Gothic style that was particularly dominant in England in the late Medieval era. The adoption of the low-massive style may have been influenced by close contacts with Rome and the Netherlands, and was perhaps a conscious reaction against English forms in favour of continental ones. It can be seen in the nave of Dunkeld Cathedral, begun in 1406, the facade of St Mary's, Haddington from the 1460s and in the chapel of Bishop Elphinstone's Kings College, Aberdeen (1500–09).[18] About forty collegiate churches were established in Scotland in late fifteenth and early sixteenth centuries. Many, like Trinity College, Edinburgh, showed a combination of Gothic and Renaissance styles.[19] The early sixteenth century saw crown steeples built on churches with royal connections, symbolising imperial monarchy, as at St. Giles Cathedral, Edinburgh.[20]
Burntisland Parish Kirk, its original wooden steeple now replaced by one of stone
From about 1560, the Reformation revolutionised church architecture in Scotland. Calvinists rejected ornamentation in places of worship. With no need for elaborate buildings divided up by ritual there was widespread destruction of Medieval church furnishings, ornaments and decoration.[21] There was a need to adapt old buildings and build new churches suitable for reformed services, particularly by putting the pulpit and preaching at the centre of worship.
Many of the earliest buildings were simple gabled rectangles, a style that continued to be built into the seventeenth century. Examples include Dunnottar Castle in the 1580s, Greenock (1591) and Durness (1619),[22] These new buildings often had windows on the south wall and none on the north, which became a unique feature of Reformation kirks. There were continuities with pre-Reformation materials, with some churches using rubble, as at Kemback in Fife (1582). Others employed stone and a few added wooden steeples, as at Burntisland (1592).[23] The church of Greyfriars, Edinburgh, built between 1602 and 1620, used a rectangular layout with a largely Gothic form, but that at Dirleton (1612), had a more sophisticated classical style.[22]
A variation of the rectangular church that developed in post-Reformation Scotland was the T-shaped plan, often used when adapting existing churches, which allowed the maximum number of parishioners to be near the pulpit. They can be seen at Kemback and Prestonpans after 1595. It continued to be used into the seventeenth century as at Weem (1600), Anstruther Easter, Fife (1634–44) and New Cumnock (1657). In the seventeenth century a Greek cross plan was used for churches such as Cawdor (1619) and Fenwick (1643). In most of these cases one arm of the cross would have been closed off as a laird's aisle, meaning that they were in effect T-plan churches.[22] Larger churches often had a steeple, as at Tron Kirk, Edinburgh (1636–47).[24]
By the later seventeenth century both the Presbyterian and episcopalian wings of the church had adopted the modestly sized and plain form of churches that had emerged after the Reformation.[24] Most had a centralised plan with two or three arms, in a rectangular or T-planned arrangement. Steeples continued to be a major feature, either centrally on the long axis, or on an end gable, in as had been the case in pre-Reformation churches.[24] As a result, there was little of the Baroque extravagance in church building seen on the Continent and England.[25] Some minor innovations may indicate a move back toward episcopacy in the Restoration era. Lauder Church was built by Sir William Bruce in 1673 for the Duke of Lauderdale, who championed the bishops in the reign of Charles II and the Gothic windows of which may have emphasised antiquity, but its basic Greek cross plan remained within the common framework of new churches.[24] The drive to episcopalian forms of worship may have resulted in more linear patterns, including rectangular plans with the pulpit on the end opposite the entrance. The major exceptions to the standard pattern are in the work of James Smith, who had become a Jesuit in his youth.[26] These included the rebuilding of Holyrood Abbey undertaken for James VII in 1687, which was outfitted in an elaborate style. In 1691 Smith designed the mausoleum of Sir George Mackenzie of Rosehaugh, in Greyfriars Kirkyard, a circular structure modelled on the Tempietto di San Pietro in Montorio, designed by Donato Bramante (1444–1514).[25] The Latin Cross form, increasingly popular in Counter Reformation Catholicism, was also used, as in Smith's Canongate Kirk (1688–90), but here it never saw episcopal service as the Presbyterian revolution of 1689–90 occurred before it was completed and the chancel was blocked up, making it, in effect, a T-plan.[26]
In the eighteenth century established patterns continued, with T-shaped churches with steeples on the long side, as at New Church, Dumfries (1724–27), and Newbattle Parish Church (1727–29). William Adam's Hamilton Parish Church (1729–32), was a Greek cross plan inscribed in a circle, while John Douglas's Killin Church (1744) was octagonal. Scots-born architect James Gibbs was highly influential on British ecclesiastical architecture. He introduced a consciously antique style in his rebuilding of St Martin-in-the-Fields, London, with a massive, steepled portico and rectangular, side-aisled plan. Similar patterns in Scotland can be seen at St Andrew's in the Square (1737–59), designed by Allan Dreghorn and built by the master mason Mungo Nasmyth, and at the smaller Donibristle Chapel (completed 1731), designed by Alexander McGill. Gibbs' own design for St. Nicholas West, Aberdeen (1752–55), had the same rectangular plan, with a nave-and-aisles, barrel-vaulted layout with superimposed pedimented front.[26] After the Toleration Act of 1712, episcopalians began building a limited number of new chapels including Alexander Jaffray's St Paul's chapel in Aberdeen (1721), the meeting house designed by McGill in Montrose, an Edinburgh chapel opened in 1722 and St Andrew's-by-the-Green in Glasgow (1750–52), which adopted a simpler version of Gibbs' pedimented rectangular plan.[27]
In the second half of the eighteenth century, Scotland's rapidly expanding economy and population resulted in the laying out of numerous new towns and remodelled settlements, resulting in a need for new churches to support the local residents. These included St Andrew's and St George's West Church, George Street, in the New Town of Edinburgh, designed by Andrew Frazer (1782–87), followed in the tradition of Gibbs, with an oval plan, tetrastyle Corinthian portico and a tall steeple. The builder, Alexander Stevens, probably also designed the steeple of St Cuthbert's Church (1789–90).[28] At Fochabers, from 1776 John Baxter redesigned the village on a grid plan, with a central square focused on Bellie Church (1795–97), still following in the tradition of Gibbs, with a tetrastyle portico and steeple.[29]
In the early nineteenth century the Gibbs-influenced steepled tradition continued, as can be seen in Robert Nisbet's Inveresk Church (1803–10). A Grecian form was developed at William Burn's North Leith Church (1813) and St John's Episcopal Church, Edinburgh (1816). The controversy over the style of the Scottish National Monument in 1816 led to the labelling of Greek temple motifs as "pagan" and relatively few columnar Greek churches were built after that in the capital. An exception was Archibald Elliot's Broughton Church (1820–21), which had a Doric temple front. More common in Edinburgh were churches that combined classical elements with other features, like the domed St George's, Charlotte Square (1811–14), executed by Robert Reid, or the Gracco-Baroque of William Playfair's St Stephen's (1827–28).[30] In Glasgow there was a tradition of grafting porticoes on to existing meeting-houses, which continued in Gillespie Graham's West George Street Independent Church (1818), which was criticised as "popish", and John Baird I's Greyfriars United Secession Church (1821), which was fronted by a Roman Doric portico. Classical designs for the established Church included the redevelopment by William Stark of St George's-Tron Church (1807–08), David Hamilton's St Enoch's Parish Church (1827) and St Paul's Parish Church (1835).[30]
As elsewhere in Western Europe, in the nineteenth century there was a return to Medieval styles, grouped together into a Gothic revival. Early examples included Adams' St George's Episcopal Chapel in Edinburgh (1792), which included octagonal lantern on ogival arches. Other examples included James Playfair's chapel-like Farnell Church (c. 1789) and Richard Crichton's towered Craig Parish Church (1799). In the early nineteenth century examples influenced by the English Perpendicular included Glenorchy Church (1810–11), built by the Earl of Breadalbane, John Paterson's octagonal reconstruction of St Paul's Church, Perth (c. 1800–07) and Fetteresso Church, Stonehaven (1810–12). Examples of a more explicitly perpendicular form can be seen in Gillespie Graham's Collace (1813), or David Hamilton's Old Erskine (1813–14).[30]
Barclay Viewforth Church, Edinburgh, built between 1862 and 1864 in the English Perpendicular style
As urban populations grew, major Neo-Gothic churches were built to accommodate them. After the passing of the Catholic Relief Act, James Gillespie Graham designed St Andrew's Roman Catholic Chapel in Glasgow (1814–17). There was also growth in the Episcopal Church, which benefited from the mainly Anglican migrant English workers. In Edinburgh these were modelled on the English Perpendicular, as at St Paul's York Place (1816–18), the towered St John's Chapel (1816–18) and St David's (Ramshorn) (1824–26). In Glasgow, the Ramshorn Kirk's has a T-plan and symmetrical front with tall tower.[30]
The Kirk began to concern itself with providing churches in the new towns and relatively thinly supplied Highlands, establishing a church extension committee in 1828. Led by Thomas Chalmers, by the early 1840s it had added 222 churches, largely through public subscription. When the Great Disruption occurred in 1843, and roughly a third of ministers and their congregations left the established church and its buildings to form the Free Church of Scotland, Chalmers' organisational skills helped the Free Church build over 700 new places of worship by 1847. The established church took time to recover, but embarked on a rival programme of church building, increasing its number of parishes from 924 in 1843 to 1,437 by 1909.[31] The intense competition between different denominations led to the creation of grand churches with tall steeples and ultimately resulted in an oversupply of churches, which would be a financial burden to future generations.[32]
The intense competition for congregations also led to changes to make worship more attractive that were reflected in architecture.[32] The Church of Scotland was among the first European Protestant churches to engage in liturgical innovation reflected in seating arrangements, abandoning box pews for open benches. From the middle of the nineteenth century some of its churches, like Greyfriars in Edinburgh, began installing organs and stained glass windows, reflecting an attempt to return to forms of worship largely excluded since the late seventeenth century. At Duns the church was rebuilt (opened 1888) in a plan used in the Middle Ages, with a separate chancel, communion table at the far end, and the pulpit under the chancel arch. The influence of the ecclesiological movement can be seen in churches built at Crathie (opened 1893), which had an apsidal chancel raised above the level of the nave, a stone pulpit and a brass lectern, and St. Cuthbert's, Edinburgh (rebuilt 1894), with a marble communion table in a chancel decorated with marble and mosaic.[33]
A sub-set of the Medieval revival were Neo-Romanesque churches, often called "Norman" at the time, built in a style that incorporated Romanesque, Byzantine and Anglo-Saxon features within a low-massive framework. These were utilised by all the major denominations. Examples include the Church of Scotland buildings at Errol (1831–33); the Catholic St. Anthony's Chapel, Murthly (1845); McBridge Free Church, Rothsay (1845); and the Episcopalian St. Thomas, Rutland Place, Edinburgh (1842–43).[34] Later nineteenth-century examples included the church at Strathbungo (1873), and St. Ninian's, Cathcart Road (1888), Glasgow, both designed by W. G. Rowan.[35]
The Gothic style developed fully in the later nineteenth century.[30] Important figures included Frederick Thomas Pilkington (1832–98), who adapted the Gothic style for the needs of the Free Church of Scotland, as at Barclay Viewforth Church, Edinburgh (1862–64).[36]Robert Rowand Anderson (1834–1921), trained in the office of leading Gothic Architect George Gilbert Scott in London before returning to Edinburgh, where he worked on many small churches, including St James the Less in Leith, Christ Church, Falkirk (1862) and the Catholic Apostolic Church in Edinburgh (1876). He also supervised the renovation of Dunblane (1890–93) and Paisley Abbey (1898–1907).[37]Alexander "Greek" Thomson (1817–75), working mainly in Glasgow, began in the Gothic style, but soon turned toward the ancient Greeks and Egyptians for inspiration, as can be seen in the temple and columns that were part of the Caledonia Road Church (1856).[36] Scotland's most influential architect of the late nineteenth century and early twentieth century, Charles Rennie MacKintosh, designed a number of churches, but only one, Queen's Cross Free Church, Glasgow (1898–99) was built. It avoided the characteristic steeple of Glasgow churches in favour of a wide tower, and has a simple, elegant, rectangular structure with a single aisle.[38]
In the first half of the twentieth century, there continued to be isolated examples of Gothic church building, including L. G. Thomson's Reid Memorial Church, Edinburgh (1929–33) and J. Taylor Thomson's St John Renfield Church, Glasgow (1927–31). The most common forms in this period were plain and massive Neo-Romanesque buildings. Protestant examples included H. O. Tarbolton's Bangour Village Church (1924–30) and L. G. Thomson's Fairmilehead Church (1937). Roman Catholic examples included Reginald Fairlie's Immaculate Conception Church, Fort William (1933–34), and Archibald Macpherson's St Matthew, Rosewell (completed 1926).[39]
The reunification of the Church of Scotland in 1929 removed much of the need for new Presbyterian church-building, which was replaced by a tendency towards renovating nineteenth-century churches, toning-down ritualistic furnishings; replacing dark varnish by white or neutral colour schemes. The main tendency in church design in the 1930s was a move towards classicism. There were isolated large classical Protestant commissions, such as Bristo Baptist Church, Edinburgh (1933–35), but the major buildings in this form were in the Catholic Church where there was a movement towards worshipper-centred basilican plans, after the pontificate of Pius X (1903–14). This movement reached its peak in the 1960s after the Second Vatican Council.[39]
The leading figure in pursuing this style was Giacomo Antonio (Jack) Coia, who after the deaths of his partners, was the sole heir to the Glasgow-based practice of Gillespie, Kidd & Coia. From the later 1920s he pursued a brick style of Catholic architecture, pioneered by Macpherson in Edinburgh and combined with the classical tendencies of Fairlie's refacing of St Patrick's, Cowgate (1928–29). Coia's first church, St Anne's, Dennistoun (1931), utilised the engineering techniques of Beaux-Arts architecture, resulting in a broad, centralised space, with narrow arcades rather than aisles, with a monumental facade of red-brick. He used a more linear plan in subsequent designs, including St Patrick, Greenock (1934–35), St Columba, Maryhill (1937), and St Columbkille, Rutherglen (1934–40). The early Christian and Byzantine character of the most striking of these, St Patrick's, was enhanced by carvings by Archibald Dawson. Coia's use of selective details was probably indebted to Mackintosh. Later in the decade Coia took into partnership T. Warnett Kennedy. Kennedy's temporary, open-roofed Catholic chapel at the Empire Exhibition (1938) was fronted by a Mackintosh-like grid of metalwork, and with his St Peter in Chains Church, Ardrossan (1938), with austere walls and towers, showed the influence of the "abstract compositions" of contemporary Swedish architecture and pointed to the future influence of modernism.[40]
After the Second World War, there was another period of rapid church building, as the creation of new towns and council house estates necessitated the rapid supply of new churches.[41] The austerity, shortage of materials and need for rapid building, discouraged the development of innovative design. This was accompanied by the rejection by most architects of traditional forms in favour of "international modernism", characterised by simple outlines, uncluttered internal spaces, absence of colour, and flat roofs.[42]
The Catholic Church, whose traditional membership was most affected by the changes in housing, was the first to react to this situation, creating 76 new parishes between 1845 and 1960 in the west of the country alone. The Baptist and Episcopalian churches followed close behind, particularly in the new towns.[41] Within the Church of Scotland, the closeness of congregation and clergy was expressed in the domestic plainness of 1950s dual-use hall churches, as at Reiach's Kildrum Parish Church, Cumbernauld (completed 1962), a steel framed building, clad in timber and brick with a flat roof.[43] Of 129 buildings erected by the Church of Scotland between 1948 and 1959, 108 were on this basic pattern.[41]
The influence of more radical Expressionism and Modernism can be seen in buildings such as Basil Spence's Mortonhall Crematorium, Edinburgh (1964–67), with a series of irregular chapels, with smooth-faced blockwork and Wheeler & Sproson's Boghall Church, Bathgate (1965), influenced by Beaux-Arts architecture.[43] The pioneering contribution from the Church of Scotland was St. Columbia's, Glenrothes (1960), which had seating for the congregation on three sides of a central platform, with the choir and elders on the fourth side behind the pulpit.[44]
St. Paul's R.C. Church, Glenrothes, one of the first modernist churches produced by Gillespie, Kidd & Coia
In the Roman Catholic Church, the most important steps towards an expressionist design were under taken by Gillespie, Kidd & Coia. This began with St Paul's Church in the new town of Glenrothes (1956–57). This was a wedge-shaped construction of white-painted common brick focused on a dramatic, jagged metal cross by the sculptor Benno Schotz. From about 1960, all Gillespie, Kidd & Coia's churches were designed in this Late Modernist style, as at St Bride's, East Kilbride (1963–64), which had a rectangular plan. From the mid-1960s, they adopted a centralised, non-rectangular plan, with seating ranged round the altar, reflecting liturgical change. Sacred Heart Church, Cumbernauld (1964), was rectangular, of load-bearing brick, dramatically lit through dark coloured windows. Our Lady of Good Counsel, Dennistoun (1965) had a splayed plan and slanted ceiling. St Benedict Drumchapel (1965–67) had a prow-like roof on curved, laminated timbers. These innovative designs inspired others to experiment, including J. McCarron's Our Lady of Sorrows, South Uist (1964–65). However, many of these designs proved too radical and were later demolished by the Catholic Church, citing structural or maintenance problems.[45]
The end of this phase of church-building, as the production of new housing subsided in the 1970s, saw a return to conservatism in church design, which may have reflected a loss of confidence in the churches as attendances rapidly declined.[42] M. Glendinning, R. MacInnes and A. MacKechnie have identified a "post-Coia" style emerging in this period.[46] The limited building, some replacing existing churches, tended to be by building companies using laminated timber beams, exposed brickwork and pyramidal roofs to produce utilitarian, if aesthetically unadventurous, constructions.[42] From the late 1980s there were some original designs, including St Mary the Virgin, in Port Glasgow (1984) by Frank Burnet, Bell and Partners; St Anthony's Catholic church in Kirriemuir (1987), by James F. Stephen Architects; and the replacement church at St Joseph's Catholic Church, Faifley (1997) by Jacobsen and French.[42] There was also the postmodern design of St John Ogilvie Catholic Church, Irvine (1982),[46] and the nearby Girdle Toll parish church, converted from a farmhouse (1992).[42]
Notes
↑ J. R. Hume, Scotland's Best Churches (Edinburgh: Edinburgh University Press, 2005), ISBN0-7486-2179-2, p. 1.
1 2 3 4 5 6 I. Maxwell, A History of Scotland's Masonry Construction in P. Wilson, ed., Building with Scottish Stone (Edinburgh: Arcamedia, 2005), ISBN1-904320-02-3, pp. 22–3.
1 2 T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, p. 8.
1 2 3 I. D. Whyte, K. A. Whyte, The Changing Scottish Landscape, 1500–1800 (London: Taylor & Francis, 1991), ISBN0-415-02992-9, p. 117.
↑ C. Evans, "The Celtic Church in Anglo-Saxon times", in J. D. Woods, D. A. E. Pelteret, The Anglo-Saxons, synthesis and achievement (Waterloo, Ontario: Wilfrid Laurier University Press, 1985), ISBN0-88920-166-8, pp.77–89.
1 2 T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, p. 10.
↑ M .Perry, M. Chase, J. R. Jacob, M. C. Jacob, T. H. Von Laue, Western Civilization: Ideas, Politics, and Society (Cengage Learning, 2012), ISBN1-111-83168-8, p. 270.
↑ T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, p. 11.
↑ T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, p. 12.
↑ T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, p. 13.
1 2 T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, pp.12–14.
↑ A. Macquarrie, Medieval Scotland: Kinship and Nation (Thrupp: Sutton, 2004), ISBN0-7509-2977-4, p. 122.
↑ T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, pp.15–16.
↑ T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, pp. 32 and 49.
↑ T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, p. 32.
↑ J. Wormald, Court, Kirk, and Community: Scotland, 1470–1625 (Edinburgh: Edinburgh University Press, 1991), ISBN0-7486-0276-3, pp.57–9.
↑ S. H. Rigby, A Companion to Britain in the Later Middle Ages (London: Wiley-Blackwell, 2003), ISBN0-631-21785-1, p. 532.
↑ M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, pp.3–4.
↑ A. Thomas, "The Renaissance", in T. M. Devine and J. Wormald, eds, The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), ISBN0-19-162433-0, p. 190.
↑ A. Thomas, "The Renaissance", in T. M. Devine and J. Wormald, eds, The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), ISBN0-19-162433-0, p. 188.
1 2 3 A. Spicer, "Architecture", in A. Pettegree, ed., The Reformation World (London: Routledge, 2000), ISBN0-415-16357-9, p. 517.
↑ A. Spicer, Calvinist Churches in Early Modern Europe (Manchester: Manchester University Press, 2007), ISBN0-7190-5487-7, pp. 53 and 57.
1 2 3 4 M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.141.
1 2 J. Gifford, William Adam 1689–1748 (Edinburgh: Mainstream Publishing/RIAS, 1989), ISBN1-85158-295-9, pp.62–7.
1 2 3 M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.143.
↑ M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, pp.143–4.
↑ M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.176.
↑ M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.181.
1 2 3 4 5 M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.234.
↑ C. Brooks, "Introduction", in C. Brooks, ed., The Victorian Church: Architecture and Society (Manchester: Manchester University Press, 1995), ISBN0-7190-4020-5, pp.17–18.
1 2 S. J. Brown, "Religion and society to c. 1900", in T. M. Devine and J. Wormald, eds, The Oxford Handbook of Modern Scottish History (Oxford: Oxford University Press, 2012), ISBN0-19-162433-0, p. 95.
↑ N. Yates, Liturgical Space: Christian Worship and Church Buildings in Western Europe 1500–2000 Liturgy, Worship & Society (Aldershot: Ashgate, 2008), ISBN0-7546-5797-3, pp.128–9.
↑ M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, pp.234–5 and 302.
↑ T. W. West, Discovering Scottish Architecture (Botley: Osprey, 1985), ISBN0-85263-748-9, p. 118.
1 2 G. Stamp, "The Victorian kirk: Presbyterian architecture in nineteenth century Scotland", in C. Brooks, ed., The Victorian Church: Architecture and Society (Manchester: Manchester University Press, 1995), ISBN0-7190-4020-5, pp.108–10.
↑ S. McKinstry, Rowand Anderson: the Premier Architect of Scotland (Edinburgh: Edinburgh University Press, 1991), ISBN0-7486-0252-6, pp.209–12
↑ T. Howarth, Charles Rennie MacKintosh and the Modern Movement (London: Taylor & Francis, 2nd edn., 1977), ISBN0-415-05307-2, pp.175–83.
1 2 M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.418.
↑ M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.417.
1 2 3 C. G. Brown, Religion and Society in Scotland Since 1707 (Edinburgh: Edinburgh University Press, 2nd edn., 1997), ISBN0-7486-0886-9, p. 164.
1 2 M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, pp.471–2.
↑ N. Yates, Liturgical Space: Christian Worship and Church Buildings in Western Europe 1500–2000 Liturgy, Worship & Society (Aldershot: Ashgate, 2008), ISBN0-7546-5797-3, p. 156.
↑ M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.475.
1 2 M. Glendinning, R. MacInnes and A. MacKechnie, A History of Scottish Architecture: From the Renaissance to the Present Day (Edinburgh: Edinburgh University Press, 1996), ISBN0-7486-0849-4, p.487.
Castles are buildings that combine fortifications and residence, and many were built within the borders of modern Scotland. They arrived in Scotland with the introduction of feudalism in the twelfth century. Initially these were wooden motte-and-bailey constructions, but many were replaced by stone castles with a high curtain wall. During the Wars of Independence, Robert the Bruce pursued a policy of castle slighting. In the Late Middle Ages, new castles were built, some on a grander scale as "livery and maintenance" castles that could support a large garrison. Gunpowder weaponry led to the use of gun ports, platforms to mount guns and walls adapted to resist bombardment.
Scottish baronial or Scots baronial is an architectural style of 19th-century Gothic Revival which revived the forms and ornaments of historical architecture of Scotland in the Late Middle Ages and the Early Modern Period. Reminiscent of Scottish castles, buildings in the Scots baronial style are characterised by elaborate rooflines embellished with conical roofs, tourelles, and battlements with machicolations, often with an asymmetric plan. Popular during the fashion for Romanticism and the Picturesque, Scots baronial architecture was equivalent to the Jacobethan Revival of 19th-century England, and likewise revived the Late Gothic appearance of the fortified domestic architecture of the elites in the Late Middle Ages and the architecture of the Jacobean era.
Scotland in the Middle Ages concerns the history of Scotland from the departure of the Romans to the adoption of major aspects of the Renaissance in the early sixteenth century.
John Mylne, sometimes known as "John Mylne junior", or "the Younger", was a Scottish master mason and architect who served as Master Mason to the Crown of Scotland. Born in Perth, he was the son of John Mylne, also a master mason, and Isobel Wilson.
The architecture of Scotland includes all human building within the modern borders of Scotland, from the Neolithic era to the present day. The earliest surviving houses go back around 9500 years, and the first villages 6000 years: Skara Brae on the Mainland of Orkney being the earliest preserved example in Europe. Crannogs, roundhouses, each built on an artificial island, date from the Bronze Age and stone buildings called Atlantic roundhouses and larger earthwork hill forts from the Iron Age. The arrival of the Romans from about 71 AD led to the creation of forts like that at Trimontium, and a continuous fortification between the Firth of Forth and the Firth of Clyde known as the Antonine Wall, built in the second century AD. Beyond Roman influence, there is evidence of wheelhouses and underground souterrains. After the departure of the Romans there were a series of nucleated hill forts, often utilising major geographical features, as at Dunadd and Dunbarton.
The Dome is a building on George Street in the New Town of Edinburgh, Scotland, United Kingdom. It currently functions as a bar, restaurant and nightclub, although it was first built as the headquarters of the Commercial Bank of Scotland in 1847. The building was designed by David Rhind in a Graeco-Roman style. It stands on the site of the Physicians' Hall, the offices of the Royal College of Physicians of Edinburgh, which was constructed in the 18th century to designs by James Craig, the planner of the New Town. The Dome is a category A listed building. The current operating business is Caledonian Heritable, a hotel, bars and restaurant group founded by Portobello born entrepreneur Kevin Doyle
St Conan's Kirk is located in the village of Loch Awe in Argyll and Bute, Scotland. In a 2016 Royal Incorporation of Architects in Scotland public poll it was voted one of the Top 10 buildings in Scotland of the last 100 years. It was established as a chapel of ease by the Campbells of Innis Chonan. The church is protected as a category A listed building.
Warfare in Medieval Scotland includes all military activity in the modern borders of Scotland, or by forces originating in the region, between the departure of the Romans in the fifth century and the adoption of the innovations of the Renaissance in the early sixteenth century. In this period conflict developed from minor raids to major conflicts, incorporating many of the innovations of continental warfare.
The Renaissance in Scotland was a cultural, intellectual and artistic movement in Scotland, from the late fifteenth century to the beginning of the seventeenth century. It is associated with the pan-European Renaissance that is usually regarded as beginning in Italy in the late fourteenth century and reaching northern Europe as a Northern Renaissance in the fifteenth century. It involved an attempt to revive the principles of the classical era, including humanism, a spirit of scholarly enquiry, scepticism, and concepts of balance and proportion. Since the twentieth century, the uniqueness and unity of the Renaissance has been challenged by historians, but significant changes in Scotland can be seen to have taken place in education, intellectual life, literature, art, architecture, music, science and politics.
The architecture of Scotland in the Middle Ages includes all building within the modern borders of Scotland, between the departure of the Romans from Northern Britain in the early fifth century and the adoption of the Renaissance in the early sixteenth century, and includes vernacular, ecclesiastical, royal, aristocratic and military constructions. The first surviving houses in Scotland go back 9500 years. There is evidence of different forms of stone and wooden houses exist and earthwork hill forts from the Iron Age. The arrival of the Romans led to the abandonment of many of these forts. After the departure of the Romans in the fifth century, there is evidence of the building of a series of smaller "nucleated" constructions sometimes utilizing major geographical features, as at Dunadd and Dumbarton. In the following centuries new forms of construction emerged throughout Scotland that would come to define the landscape.
Architecture in early modern Scotland encompasses all building within the borders of the kingdom of Scotland, from the early sixteenth century to the mid-eighteenth century. The time period roughly corresponds to the early modern era in Europe, beginning with the Renaissance and Reformation and ending with the start of the Enlightenment and Industrialisation.
Architecture in modern Scotland encompasses all building in Scotland, between the beginning of the twentieth century and the present day. The most significant architect of the early twentieth century was Charles Rennie Mackintosh, who mixed elements of traditional Scottish architecture with contemporary movements. Estate house design declined in importance in the twentieth century. In the early decades of the century, traditional materials began to give way to cheaper modern ones. After the First World War, Modernism and the office block began to dominate building in the major cities and attempts began to improve the quality of urban housing for the poor, resulted in a massive programme of council house building. The Neo-Gothic style continued in to the twentieth century but the most common forms in this period were plain and massive Neo-Romanesque buildings.
Architecture of Scotland in the Industrial Revolution includes all building in Scotland between the mid-eighteenth century and the end of the nineteenth century. During this period, the country underwent an economic and social transformation as a result of industrialisation, which was reflected in new architectural forms, techniques and scale of building. In the second half of the eighteenth century, Edinburgh was the focus of a classically inspired building boom that reflected the growing wealth and confidence of the capital. Housing often took the form of horizontally divided tenement flats. Some of the leading European architects during this period were Scottish, including Robert Adam and William Chambers.
Estate houses in Scotland or Scottish country houses, are large houses usually on landed estates in Scotland. They were built from the sixteenth century, after defensive castles began to be replaced by more comfortable residences for royalty, nobility and local lairds. The origins of Scottish estate houses are in aristocratic emulation of the extensive building and rebuilding of royal residences, beginning with Linlithgow, under the influence of Renaissance architecture. In the 1560s the unique Scottish style of the Scots baronial emerged, which combined features from medieval castles, tower houses, and peel towers with Renaissance plans, in houses designed primarily for residence rather than defence.
Art in early modern Scotland includes all forms of artistic production within the modern borders of Scotland, between the adoption of the Renaissance in the early sixteenth century to the beginnings of the Enlightenment in the mid-eighteenth century.
Housing in Scotland includes all forms of built habitation in what is now Scotland, from the earliest period of human occupation to the present day. The oldest house in Scotland dates from the Mesolithic era. In the Neolithic era settled farming led to the construction of the first stone houses. There is also evidence from this period of large timber halls. In the Bronze Age there were cellular round crannogs and hillforts that enclosed large settlements. In the Iron Age cellular houses begin to be replaced on the northern isles by simple Atlantic roundhouses, substantial circular buildings with a drystone construction. The largest constructions that date from this era are the circular brochs and duns and wheelhouses.
The Royal Court of Scotland was the administrative, political and artistic centre of the Kingdom of Scotland. It emerged in the tenth century and continued until it ceased to function when James VI inherited the throne of England in 1603. For most of the medieval era, the king had no "capital" as such. The Pictish centre of Forteviot was the chief royal seat of the early Gaelic Kingdom of Alba that became the Kingdom of Scotland. In the twelfth and thirteenth centuries Scone was a centre for royal business. Edinburgh only began to emerge as the capital in the reign of James III but his successors undertook occasional royal progress to a part of the kingdom. Little is known about the structure of the Scottish royal court in the period before the reign of David I when it began to take on a distinctly feudal character, with the major offices of the Steward, Chamberlain, Constable, Marischal and Lord Chancellor. By the early modern era the court consisted of leading nobles, office holders, ambassadors and supplicants who surrounded the king or queen. The Chancellor was now effectively the first minister of the kingdom and from the mid-sixteenth century he was the leading figure of the Privy Council.
The Thistle Chapel, located in St Giles' Cathedral, Edinburgh, Scotland, is the chapel of the Order of the Thistle.
Alexander Esmé Gordon was a Scottish Modernist architect, writer, and painter who served as Secretary of the Royal Scottish Academy between 1973 and 1978.
St Leonard's Church is a congragation of the Church of Scotland located on Brucefield Avenue, Dunfermline, Scotland.
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