The Great Blank

I’ve just rediscovered this very funny rant by John Ruskin, speaking in 1853 to the citizens of Edinburgh, about how their architecture was tasteless because they failed to allow themselves to be inspired by nature. You might not agree, but if you compare buildings built in Edinburgh after 1853 to those built before, you’ll see that they took his words to heart.

In your public capacities, as bank directors, and charity overseers, and administrators of this and that other undertaking or institution, you cannot express your feelings at all. You form committees to decide upon the style of the new building, and as you have never been in the habit of trusting to your own taste in such matters, you inquire who is the most celebrated, that is to say, the most employed, architect of the day. And you send for the great Mr. Blank, and the Great Blank sends you a plan of a great long marble box with half-a-dozen pillars at one end of it, and the same at the other; and you look at the Great Blank’s great plan in a grave manner, and you dare say it will be very handsome; and you ask the Great Blank what sort of a blank check must be filled up before the great plan can be realized; and you subscribe in a generous “burst of confidence” whatever is wanted; and when it is all done, and the great white marble box is set up in your streets, you contemplate it, not knowing what to make of it exactly, but hoping it is all right; and then there is a dinner given to the Great Blank, and the morning papers say that the new and handsome building, erected by the great Mr. Blank, is one of Mr. Blank’s happiest efforts, and reflects the greatest credit upon the intelligent inhabitants of the city of so-and-so; and the building keeps the rain out as well as another, and you remain in a placid state of impoverished satisfaction therewith; but as for having any real pleasure out of it, you never hoped for such a thing. If you really make up a party of pleasure, and get rid of the forms and fashion of public propriety for an hour or two, where do you go for it? Where do you go to eat strawberries and cream? To Roslin Chapel, I believe; not to the portico of the last-built institution. What do you see your children doing, obeying their own natural and true instincts? What are your daughters drawing upon their cardboard screens as soon as they can use a pencil? Not Parthenon fronts, I think, but the ruins of Melrose Abbey, or Linlithgow Palace, or Lochleven Castle.

Venice in Edinburgh

In a scaffy corner in the east end of Edinburgh, down the cobbled, dirty-puddled close that is West Register Street, hides a secret treasure: a Venetian Gothic warehouse, built in 1864.

The architect was William Hamilton Beattie, twenty-two years old and still operating under his father’s firm’s name of George Beattie and Sons. He signed the building, there, look, above the first floor window.

The client was 48-year-old James Cowan (1816-1895), member of a successful family firm of papermakers. I think the portraits on either side of the entrance are of his father Alexander (1775-1859) – whose biography is here – and grandfather Charles (1735-1805).

The Cowans had built a great paper industry in Penicuik to the south of Edinburgh, a spin-off industry from Edinburgh’s literary flourishing. They provided the raw material for the Edinburgh Review, Waverley Novels, Blackwoods Magazine and all the rest. During the nineteenth century they prospered, and brought Penicuik with them.

They were also religious and high-minded: idealists who, like today’s social entrepreneurs, believed a business could be both profitable for its owners and beneficial for society in a whole range of ways. Alexander had been Presbyterian but James converted to Episcopalianism, perhaps thanks to enthusiasm for Walter Scott, with whom his father was connected; perhaps to enthusiasm for a Gothic aesthetic and the ethical and religious connections with which thinkers like John Ruskin infused it.

Ruskin had written The Stones of Venice ten years earlier, and the Paper Warehouse proclaims that Cowan and Beattie had devoured it. In this work, through a detailed examination of Venetian Gothic architecture, Ruskin argued that the stones themselves testified to a more just, more expressive, more creative society than nineteenth-century industrial Britain. The recreation of the cosmopolitan cusps and corbels of Venetian Gothic in an auld reekie close is a symbol of a dream of a better society.

Every ornament is different. Star, diamond, circle, cross; different species of plant above each first-floor window; a different composition of birds and reptiles above each of the ground-floor ones, where, as John Ruskin pointed out, the richest carving should go to be clearly seen, from the bird catching a snake to the ferns to the squirrel, a lonely mammal.

All the designs are based closely on observation of nature, all express the freedom and individuality of the artist. Above the main entrance, coloured stone adds polychromatic richness, like heraldry or oriental mosaics – somewhere in there, under the grime.

I discovered the building because of an insult. Cowan was Lord Provost of Edinburgh at the time when the competition to build St Mary’s Cathedral was being run. The English Church Times was amongst Episcopalians in fits of indignation that city officials who were probably vulgar, provincial, tasteless, and Presbyterian were part of the committee choosing the architect. “The grocer’s term of Provostship expired, and his successor, a paper maker, was probably more amenable to reason. Mr Lascelles [Lessels, an Edinburgh architect whose design was inferior] was, happily, relegated to obscurity; and, by a sort of compromise […] Sir G. G. Scott, the safe architect of the present day, has been chosen”. The Church Times could sneer at George Gilbert Scott as much as they liked, but someone wrote in from Edinburgh to defend the papermaker: “The papermaker referred to is an Episcopalian, and member of a firm which has shown some taste and love for architecture in selecting the Venetian Gothic for his place of business”. (Church Times, December 1872).

Like all Cowan’s business, and like the Episcopal church at the time, it is a beautiful dream of a better society. Next time you are passing the east end of Edinburgh, step out of the crowds, away from the glossy shops, and into the dirty close, and catch the dream.

The young Beattie went on to develop his own style and to reshape Edinburgh: he built Jenners and the Balmoral.

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The First Clergy of St Mary’s Episcopal Cathedral Edinburgh

St Mary’s Episcopal Cathedral, Palmerston Place, Edinburgh was designed by George Gilbert Scott and consecrated in 1879. St Mary’s was funded by the bequest of two sisters, Mary and Barbara Walker, whose fortune as landowners had been made by the housing and railway development of the West End of Edinburgh. How did this new Cathedral understand itself? What identity did its architect provide? Who were its congregation? How did it belong in a Presbyterian industrial city? I begin with a group of eleven clergy who were closely connected with its foundation, and who provided its spiritual vision.

The Clergy

Bishop Charles Terrot and Dean Edward Ramsay of Edinburgh, and John Sinclair were older clergy who had known the Walker sisters, and were appointed by them as Trustees to plann the Cathedral.

In March 1871 Mary Walker died and the will came into effect, but the project was launched amidst a complete change in clerical personnel. Henry Cotterill became coadjutor in 1871 then Bishop on Terrot’s death in 1872. The energetic Dean Ramsay also died in 1872. Cotterill appointed James Montgomery Dean in 1873. Finally Sinclair, last of the old guard, died in 1875.

In 1878 the Cathedral chapter was appointed. Montgomery was made Dean of the Cathedral (an office later re-named Provost) as well as of the Diocese. Sub-Dean John Cazenove and Chaplains William Meredith and Reginald Mitchell-Innes comprised the other full-time staff, while Incumbent Canons Daniel Fox Sandford of St John’s Princes Street, Gildart Jackson of St James’ Leith and William Bird Bushby of the Duke of Buccleuch’s chapel at Dalkeith were senior clergy in the diocese of Edinburgh.

Scottish or English?

The question usually first asked of a Scottish Episcopalian’s identity is, ‘were they Scottish or English?’, but the answers for this group were far from straightforward.

Bishop Terrot’s parents, who met in India where Terrot was born, were both from French Hugenot families. When his father was killed in action his family invited his mother to live with them in Berwick-upon-Tweed. Terrot was educated in Cambridge but holidayed with his uncle, incumbent of the Episcopal Chapel at Haddington, succeeding him in that post and spending his entire career in the diocese of Edinburgh.

John Sinclair, son of the editor of the Statistical Account of Scotland, grew up in Edinburgh, studied in Oxford and became Rector of Sutterby in Lincolnshire, but aged 25 returned to the diocese of Edinburgh for seventeen years, before heading in 1839 for an ecclesiastical-political career in London.
Ramsay, son of the Sheriff of Kincardineshire, was largely educated in England: at Durham and Cambridge, with his uncle in Yorkshire, and as a curate in Somerset where, in charge in the absence of the rector, he was remembered for befriending the local Methodists. He returned to the Scottish Episcopal Church in 1824 and was distinguished by his energy and intelligence, playing an important role in removing barriers between the Scottish Episcopal and Anglican church, and shining as a national literary figure.

Bishop Cotterill was the son of the evangelical Rector of Blakeney in Norfolk and educated at Cambridge. He came to Scotland as Bishop of Edinburgh late in his career, after serving for thirty-five years in Madras, Brighton and Grahamstown in South Africa. Montgomery, grandson of the Baronet of Stobo, made his career in the land of his birth, although he received his theological training in Durham and spent two years as a curate in Dorset before Terrot recruited him as curate for St Paul’s York Place.

Cazenove, from London, had a British Tractarian formation as curate at St Peter’s, Leeds, followed by twenty years as Vice-Provost then Provost of the Cathedral of the Isles on Cumbrae in Argyll, before settling in Edinburgh where he developed a distinguished educational career.

Sandford was a Scot by birth, education, and career. However, he was the grandson of a prominent English immigrant in whose diocese the elder clergy had grown up,  Bishop Daniel Sandford (d.1830), the first Englishman to become a bishop in the Scottish Episcopal Church, assisting it to emerge from post-Jacobite obscurity and into communion with the Church of England. The migrant missionary gene emerged late in his grandson’s life: he became Bishop of Tasmania in 1883.

Jackson and Bushby were English immigrants, as were the young chaplains, Meredith and Mitchell-Innes, who were at the start of careers that would lead both of them further north: Meredith after a period as Vice-Principal of Chichester Theological College returned to Scotland as Rector of Muthill and then Crieff in Fife, while Mitchell-Innes held various diocesan posts in Edinburgh, Glasgow and finally Inverness.

To categorise any individual in this group as Scottish, English or even British would be misleading: collectively, they were Episcopalians of the British Empire. What did they think about theology, Scottish identity, church establishment, social action? What shape did the teaching in the new church take? To find out you’ll have to read my full article. All I need to do is write it.

Gothic Revival in Westminster

I was invited to St Matthew’s Westminster to give a talk on religion and environmental issues at the inaugural Just Festival Westminster, and unexpectedly found myself in a George Gilbert Scott church.

St Matthew’s, begun in 1849, was a high-church mission in a notorious slum area of Westminster known as the Devil’s Acre. I dread to think what the price of these flats might be now, but the narrow lanes and names like “Perkin’s Rents” and “Old Pye Street” recall a time when bare food and shelter were foremost in people’s minds. A church and, as so often in these missions more importantly a school, represented a great leap forward in civilization.

St Matthew’s is a strange church, because it burn down in the 1970s, so is a now a collection of rescued George Gilbert Scott fragments juxtaposed with unashamedly modern additions and reconstructions. There is still a sense of how the weary and heavy laden of Devil’s Acre might have come there to find rest amongst the beauty:

And been raised above the squalor of the lanes outside by the combined splendour and homeliness of George Gilbert Scott’s gilded reredos, depicting the nativity:

The fact that the original stained glass consists of rescued fragments makes one look at them with fresh appreciation, perhaps more as the original beholders saw them, perhaps feeling that they were rescued fragments of humanity themselves.


St Matthew’s is like a beautiful patchwork casket for new works of religious art. I particularly like this Mary and child, with her brazen nudity and all the stroppiness of the Magnificat. She isn’t just talking about God showing strength with his arm, scattering the proud and exalting the humble and meek, she’s jolly well doing it herself:

The Just Festival in which I was participating included a new piece of art showing different faces of God: much bigger and more spectacular than it appears in my picture. My friend Raymond, whose organisation of the Festival included procuring the enormous exhibition panel to display it on, was worried it would be a bit controversial but it seemed to meet with general acclaim.

Apparently the naked Mary had caused a bit of a stooshie. So did my “Earth be Glad” talk about religion and the environmental crisis. I feel I’m in good company. Whether you’re a nineteenth-century Tractarian missionary, or a twenty-first century environmental campaigner, it’s difficult to sing Mary’s song at choral evensong every week without becoming a bit revolutionary:

He hath showed strength with his arm;
He hath scattered the proud in the imagination of their hearts;
He hath put down the mighty from their seat,
And hath exalted the humble and meek;
He hath filled the hungry with good things,
And the rich he hath sent empty away.

Holy boldness: Caroline Scott’s Family Prayers

The Gothic Revival architect George Gilbert Scott was devastated by the death of his wife Caroline and troubled by guilt that he his flourishing career had left her too much alone. Just as he never designed his own house but let his professional work stand as his legacy, so his monument to her was not to design a lavish grave, but to publish her own creative legacy, a volume of Family Prayers, ‘on which’, Scott writes, ‘she for many years spent much of her leisure time’.

In the model of the pious household, the head, George, would be expected to lead family prayers, but as he was so frequently absent the task would devolve onto his second-in-command, Caroline, who was thereby given free rein to be both leader and liturgist, a role she could never have taken under the gothic arches her husband was building for the Church of England itself.

Caroline’s little services, with titles such as ‘Monday evening’ or ‘Thursday morning’, 430 pages of them, luxuriate in the idiom of the Book of Common Prayer. She included the familiar words of the Lord’s Prayer and Doxology in most of the services to give them an element of participation, with perhaps one response from the set of responses in the Prayer Book offices. When she said ‘O Lord open our lips’, her family would automatically respond ‘And our mouth shall shew forth thy praise’, without need for a prompt. The services typically included a few verses from the bible, one of the collects (short prayers for particular occasions) written by Cranmer for the BCP, and often a few verses of one of the canticles set for daily offices in the BCP. All these are easily identifiable for the historian who also happens to sing Choral Matins and Evensong.

In addition to this familiar material, the meat of Caroline’s services is other, often longer petitions, all in the musical, antiquated idiom of the BCP (as antiquated to Victorians as to us, but familiar as the language of Religion), but not quoted from it. In his preface her husband wrote, ‘I am not able to tell which parts of them are original; but I know that they were composed, or compiled, with constant reference to all old precedents and authorities to which their writer had access; and, perhaps, more largely than others to those of Bishop Jeremy Taylor’. Here is a sample, the second-last prayer in the book, A Prayer for the Evening:

Almighty Father, who givest the sun for a light by day, and coverest the earth by night with the robe of darkness; vouchsafe we beseech Thee, to receive us this night and ever into Thy favour and protection; defending us from all evils. Save, defend, and keep us evermore; and may our souls be sanctified by Thy Spirit, and glorified by Thy infinite mercy, in the day of the glorious appearing of our Lord and Saviour Jesus Christ. — Amen. p.429.

I have an advantage over Scott, which is that I have at my fingertips a global searchable database of digitised books, which includes the works of Jeremy Taylor. So I decided to paste some samples of Caroline Scott’s prayers into Google, and find out where her words came from.

Sometimes she edits and adapts the Bible and prayer book. Here she cuts a line from the BCP Collect for the thirteenth Sunday after Trinity, refocusing it from human failure to human possibility:

Keep, we beseech thee, O Lord, thy Church with thy perpetual mercy; and, because the frailty of man without thee cannot but fall, keep us ever by thy help from all things hurtful, and lead us to all things profitable to our salvation; through Jesus Christ our Lord. Amen.

Here, she re-works some advice from James 4.8-10 into a liturgical call to confession, replacing his self-flagellatory language with her own idea of a more measured, constructive repentance:

Draw nigh to God, and he will draw nigh to you. Cleanse your hands, ye sinners; and purify your hearts, ye double minded. Be afflicted, and mourn, and weep: let your laughter be turned to mourning, and your joy to heaviness. Humble yourselves in the sight of the Lord, and he shall lift you up. and make confession of your sins unto him, with a hearty sorrow and humble hope — begging for mercy at the throne of grace.

Early in my searching I found a quotation from the kind of source I was expecting, the Anglican writers who in the seventeenth century wrote a great deal of devotional and theological material in the BCP idiom. Caroline quoted from an Exhortation to the Candidates for the degree of Master of Arts in the University of Edinburgh by Robert Leighton (1611-1684) Archbishop of Glasgow. Excited by the prospect that this method would enable me to re-create Caroline’s library, I googled on. Yet every other unfamiliar prayer I looked up returned only one result: Caroline Scott, Family Prayers. I found nothing by Jeremy Taylor. My small sample suggests that many of the Family Prayers are indeed Caroline’s own words.

O merciful Father, who invitest all penitent sinners to come to the fountain of mercy to be pardoned; all the oppressed to be relieved; all the sorrowful to be comforted; admit us, O gracious God, to partake of these Thy loving-kindnesses — that we may not only hear of Thy mercies, but may participate in them; not only see the gate of the Kingdom of Heaven set wide open, but may we enter in. Wedneday Morning, p.29

What was her theology? There is much about sin and repentance, although as the edits above suggest, Caroline rejects the powerlessness suggested by the BCP Calvinism in favour of a theology of participation and possibility:

O enable us, most gracious Father, to work out our own salvation, knowing that Thou wilt work with us, and wilt assist us by Thy grace; for we know that he who heartily endeavours to please God, and searches what His will is, that he may obey it, certainly loves God, and nothing that loves God can perish. — Tuesday Morning, p.25.

I was reminded of the Scottish theologian Thomas Erskine, who rejected the legalistic direction which Evangelical theology was taking in the 1820s in favour of a relational spirituality: salvation meant encountering, imitating, and eventually participating in God. Caroline’s prayer are similarly warm, relational and personal, with little interest in church or society, all about oneself and the universe. There are not many degrees of separation between them: Erskine was closely connected to the Sandfords in Edinburgh, probably a member of Bishop Daniel Sandford’s congregation in the 1810s and 20s, and at his death given his final communion by the Bishop’s grandson, Rev Daniel Fox Sandford, Rector of St John’s. The bishop’s daughter — and rector’s aunt, Frances, had married the bishop’s curate Charles Lane and settled in Wrotham, Kent, where the Scotts spent the summer of 1868. ‘My wife […] greatly enjoyed her stay there, and the more so, as the country around is very beautiful, and as she there made several very agreeable friendships especially with Mr and Mrs Lane at the Rectory’, wrote George (Personal and Professional Recollections ed. Gavin Stamp 1995, p.259 and 465). Frances was a serious theologian herself, as the letters to her father the bishop in answer to her questions demonstrate. Her husband’s theology focused on the Holy Spirit. ‘You know his favourite theme so well’, said the preacher at his funeral sermon. ‘We know how earnestly he himself daily prayed for an outpouring of the same Holy Spirit; and what a special day in his calendar was Whitsun day!’ (J.H. Jaquet, In Memoriam (London 1879) p.12) All these writers seem to share a warm, relational theology distinct from the legalism of evangelicalism, the mysticism of Tractarianism or the erastianism of the ‘Broad Church’.

Caroline’s themes in her prayers combine a sense of the epicness of God’s universe combined with the practicality of the Christian’s daily task. I was struck by her use of the phrase ‘holy boldness’ for one Sunday Morning prayer:

Give us, we beseech Thee, O Jesus, a holy boldness to confess before men, that Thou art the Sovereign whom we will serve. We have received from Thee the bounty of Thy grace. O assist us to be Thy faithful soldiers and servants unto our lives’ end. — Amen.

The phrase ‘holy boldness’ is not, to my knowledge, biblical, but Caroline didn’t make it up. I’m not sure what source she was likely to have found it in, but it is widespread in devotional writing and seems to be a translation of the Hebrew chutzpah.

My very brief sampling of Family Prayers could give me little more than an admiration of Caroline’s command of the religious idiom, her familiarity with her sources, and her confident filleting and reworking of them, with a great deal of her own material, into an original theological text. Digitisation, however, raises the possibilities of studying the theology of women from their unreferenced, private texts like these in ways that would previously impossible: reconstructing reading lists, identifying original passages, and then analysing theology in the light of contemporary ideas of their male counterparts in churches and universities. I should like to see church historians write a great deal more about the chutzpah-theology of women like Frances Lane and Caroline Scott.

St Michael’s Longstanton: a Gothic Revival role model

I read about St Michael’s Longstanton on Friday, and found myself in the next Cambridgeshire village on Sunday. And the sun was out. And there was moss! I wouldn’t like to discourage Serendipity by ignoring such opportunities presented by her to test my ability to explain the principles of gothic revival. There’s a great deal I don’t say in this very short summary, but I hope it sparks your interest.

West end of St Michael’s Longstanton, with its ancient well and churchyard wall.

St Michael’s is important in the gothic revival because in about 1842 the Cambridge Camden Society’s journal The Ecclesiologist identified it as perfectly embodying the principles of gothic architecture as set out by Pugin in the ideal form for small village churches — such as were required in countless colonial settlements. As a result, St Michaelses popped up all around the world.

What gives a gothic building away is the windows: the revivalists called it the Pointed style. They divided the gothic into three phases, easily identifiable by the window tracery: 
  • early, with simple tracery, regarded as full of energy but underdeveloped
  • middle, decorated or flamboyant, regarded as the high-point of the style
  • late or perpendicular, in which the vertical bars go all the way to the top, regarded as degenerate and enervated

The early thirteenth-century St Michael’s was built in the decorated style which the Ecclesiologists liked best.

Decorated tracery in St Michael’s nave. The pulpit and lectern are on either side of the nave, at its junction with the chancel.

Whereas the earliest gothic revivalists, such as the writers of gothic novels in the late eighteenth century, were interested in the romantic and sublime possibilities of the appearance of gothic decoration, Pugin and the Ecclesiologists were interested in structure. St Michael’s fits Pugin’s principles of architectural authenticity. Firstly, he appearance of the building should show:

  1. how it is engineered
  2. what materials it is made of. 

There may be plenty of decorative carving and painting, but no veneers or, for example, a plaster ceiling imitating a stone vault, or sandstone pillars veneered with wood painted to look like marble.

Secondly, carved decoration is not gratuitous but ornaments structural features, such as the window tracery, or the alternating rounded and squared pillar heads below: it is decorated construction, not constructed decoration. Pugin observed that this was the case for all gothic decoration. A larger building than St Michael’s, such as a cathedral, had a more complex structure and therefore more opportunity for ornament: foliated pinnacles, for example, add important weight to a flying buttress, while grotesque gargoyles are decorated drainpipes.

St Michael’s is an honest building: you can see its pillars and arches holding up the roof, decorated pillar and window heads, wooden ceiling, tiled floor, stone walls, and thatched roof.

What made St Michael’s really ideal for the Ecclesiologists, however, was that it incorporated, in pocket-sized form, all the features they considered essential for the proper liturgical ordering of a church. For Christians of the Enlightenment it was the intellectual content of worship which was important, if the sermon argued the truth persuasively and the prayers expressed the right petitions, worship could take place in any convenient hall. But for Christians influenced by the Romantic movement, this was too dry. As physical, emotional beings, people needed to worship in sensory spaces which appealed directly to their feelings and physically embodied their spiritual principles. The shape of the space was therefore very important. They made a list which included such items as:

  1. a clearly separated nave and the chancel, with more ornament in the chancel
  2. a porch to the south
  3. a bell tower suitable to the scale of the church
  4. three steps up to the altar
  5. an east window with three lights, to represent the Trinity

St Michael’s had all these and many other essential liturgical details which made it the perfect model of a small church. It was copied all around the world. 

St Michael’s has a south-facing porch, bell tower, clear separation of (larger) nave and chancel (in the foreground), and buttresses supporting the walls.

The modern visitor’s eye might be more likely to be caught by the imposing key you borrow to get in, which goes in and turns the opposite way to modern keys, and the ancient, perhaps pagan, well, with its stone cross cut into the rear wall: the local tradition is babies can only be baptised when the morning sun shines from the east through the cross and into the well:

But if you visit St Michael’s — or any church built in the Medieval thirteenth century, or the Victorian 1840s, have a look for Pugin and the Ecclesiologists’ principles of gothic: visible engineering and materials, ornamented structure rather than constructed ornament, and liturgical ordering in the architecture. For them, this wasn’t just a pretty, interesting, or convenient building, it was, like the faith it was built to house, intended to be a true one.

George Gilbert Scott and the Scottish Episcopal Church

I’m four days in to a new project looking at the neo-gothic architect George Gilbert Scott and the Scottish Episcopal Church. This 16-month project is part of a larger Leverhume-funed one led by Professor Sam McKinstry at University of West of Scotland, investigating Gilbert Scott’s highly-successful business networks.

George Gilbert Scott (1811-1878) was the leading neo-gothic architect of his day in terms of the scale of his practice, successfully employing a large number of people who worked in a ‘house style’. You can find out easily about Gilbert Scott, but history has often judged him harshly. It was an unfortunate feature of the architects, musicians and theologians of the nineteenth-century church (as in wider culture) that their high sense of drive and progress necessitated looking down upon their immediate predecessors, and even on their own earlier work. Their biographies and autobiographies bequeathed this patronising attitude to historians, who only recently have begun to learn that deficiencies based on what they couldn’t have known yet might be less important than their insights and wisdom which were subsequently forgotten. I don’t know a great deal about gothic revival architecture so ask me again what I think of Gilbert Scott’s architecture in a few weeks.

George Gilbert Scott designed six Scottish Episcopal Churches:
1855 St Paul’s Dundee
1858 St Cuthbert’s Hawick and St Mary’s Broughty Ferry
1861 St James the Less, Leith
1871 St Mary’s Glasgow
1876 St Mary’s Cathedral Edinburgh.
He also designed or revised elements of the Episcopal Churches in St Andrew’s and Kilmarnock and the clergy training college at Glenalmond, and designed memorials for two of the most famous Victorian Episcopalians, Dean Ramsay and Bishop Forbes.

This was a motley mixture. The churches in Dundee, Leith and Glasgow were the original Episcopal congregations of those places, thrown out of their parish churches when Presbyterianism was established in 1689. Hawick and Broughty Ferry were both new missions in towns that had no Episcopal congregation. The Dundee and Glasgow churches were later raised to Cathedral status, but only St Mary’s Cathedral in Edinburgh was actually designed as a Cathedral, a new foundation in a small city already well-stocked with large Episcopal Churches.

The Duke of Buccleuch appears to have been an important link between the Episcopal Church and Gilbert Scott, with whom he shared a surname. Buccleuch commissioned Gilbert Scott to provide plans for a chapel at Drumlanrig Castle: these were not executed although a chapel was opened in 1850. Buccleuch appears to have funded the mission at Hawick, and laid the foundation stone of St Mary’s Edinburgh.

The bishops of the dioceses, Forbes of Brechin, Terrot of Edinburgh and Trower of Glasgow, were largely responsible for instigating the projects and in three cases were commissioning churches for their own use. They were a mixture of Scottish and English, High and Broad church influences.

Gilbert Scott, whose early Evangelicalism mellowed into Broad Anglicanism, appears to have followed a similar spiritual path to Bishop Terrot, as several clergy did who, like Terrot, began their career under Bishop Sandford of Edinburgh. It is no surprise that, when spending a summer at Wrotham in Kent, the Gilbert Scotts formed a warm friendship with the local rector and his wife — Charles Lane, Sandford’s former curate, who had married the bishop’s clever daughter Frances. Gilbert Scott, like Sandford and his followers, were well-disposed towards the High Church although they were not part of it, admiring its combination of missionary zeal, social concern, and passion for historical tradition, and he gained his first Scottish commission from the Episcopal Churches first, and for a long time only, Tractarian bishop Forbes.

My hope is that investigating the contacts and networks which led to the construction of these churches will provide an insight into the importance of Gilbert Scott’s own spirituality in his highly successful business — which will involve unearthing a great deal of Episcopalian history along the way.

Please do get in touch with me if you have a particular interest in Gilbert Scott or in these churches, which I’m certainly hoping to contact and visit in the course of the year, and follow me on Twitter @eleanormharris for future updates.