Thistle Chapel facts for kids
The Thistle Chapel is a special chapel located inside St Giles' Cathedral in Edinburgh, Scotland. It is the chapel for the Order of the Thistle, which is a very old group of knights and ladies in Scotland.
The Order of the Thistle was started in 1687 by King James VII. He wanted a chapel for the knights at Holyrood Abbey. However, when King James was removed from power the next year, a crowd destroyed the chapel before anyone could use it. For many years, people suggested building a new chapel either at Holyrood Abbey or inside St Giles' Cathedral.
In 1906, the sons of the late Earl of Leven gave a large sum of money, £24,000, for a new chapel. King Edward VII then ordered that a new chapel be built on the south side of St Giles' Cathedral.
The King chose Robert Lorimer to be the architect. Lorimer gathered a team of very skilled Scottish artists and craftspeople. These included Phoebe Anna Traquair for beautiful enamel work, Douglas Strachan for stained glass, and Joseph Hayes for detailed stone and wood carvings. Only a few main artists, like Louis Davis (stained glass) and the Bromsgrove Guild (bronze items), were from outside Scotland.
Building the chapel started in November 1909 and finished just over a year later. It officially opened in July 1911. King George V was so impressed that he made Lorimer a knight. Even today, new knights add their special plates, crests, and banners to the chapel, continuing its tradition of amazing craftsmanship. The Knights of the Thistle meet in the chapel at least once a year.
Experts say that Lorimer did a great job using a small space to create a tall, impressive building in the Gothic architecture style. Many also highlight how important the chapel is as a product of the Arts and Crafts movement. This movement focused on skilled teamwork by individual artists to create a beautiful overall effect. Some also see the chapel as a symbol of Scottish pride and loyalty to the monarchy.
Contents
History of the Chapel
Early Plans at Holyrood Abbey
On May 29, 1687, King James VII created the Order of the Thistle. He decided that Holyrood Abbey would be the chapel for this new group. Because of this, the Abbey's church members had to move to a different church nearby.
For about 17 months, William Bruce worked to change the Abbey. An altar and a black and white marble floor were added. Fancy wooden stalls were brought from London. However, the Order of the Thistle never got to meet in their new chapel. On December 10, 1688, after King James was removed from power, a crowd from Edinburgh destroyed the new furnishings.
Ideas for a New Chapel
The Order of the Thistle was brought back in 1703 by Queen Anne, but it didn't have a special chapel. In 1728, someone suggested fixing up old church ruins in St Andrews Cathedral for the Order.
Ideas to put the chapel inside St Giles' Cathedral started as early as 1872. People thought about using the south part of St Giles' as the chapel. But none of these early ideas worked out.
In 1836, architects James Gillespie Graham and Augustus Pugin drew plans to restore Holyrood Abbey as the chapel. These plans weren't used then. But in 1905, the Earl of Leven set up a fund to restore Holyrood Abbey for the Order. However, after looking into it, experts found that restoring Holyrood Abbey was not possible.
Building the Chapel
When the Earl died in 1906, his sons took over the fund. They offered £22,000 and another £2,000 to build a completely new chapel. King Edward VII chose a group of trustees to oversee the project. The King told them to ask St Giles' Cathedral if they would host the new chapel. On March 12, 1909, the Cathedral happily agreed.
The trustees chose Robert Lorimer as the architect. The King approved Lorimer's plans, and building started on August 24, 1909. The first stone was laid on November 6 that year. Joseph Hayes was the sculptor chosen by Lorimer for the detailed carvings.
The chapel was finished by autumn 1910, just in time for the Knights' first meeting on St Andrew's Day. King George V officially opened the chapel with a big ceremony on July 19, 1911. Police even hid in the boiler room below to protect against possible trouble. After the ceremony, the King met the craftspeople, and Lorimer was made a knight for his work.
The trustees wanted the Thistle Chapel to be a "national thing." This meant they preferred Scottish artists. Lorimer had already put together a team of mostly Edinburgh-based artists. Only Louis Davis (who designed the stained glass) and the Bromsgrove Guild (who made metalwork) were from outside Scotland. The chapel was built quickly because this team of artists was so skilled.
Later Years
The old boiler room under the chapel was updated in 1982. From 1987 to 2019, a cafe was located right below the chapel.
In 2006, the chapel had a big cleaning and repair project. This was the first major maintenance work in its history.
The Thistle Chapel was closed to visitors for a while starting in February 2015 after some valuable items were stolen. It reopened to visitors the next year.
Chapel Design
The Thistle Chapel has a simple shape. It has three main sections and a rounded east end. It does not have side aisles or transepts (the parts that stick out from the sides of a cross-shaped church). Below the chapel is a basement area. Next to the chapel is an entrance hall, called the ante-chapel. This hall connects to St Giles' Cathedral and has an outside door leading to Parliament Square.
The chapel is built in a tight space. It's on the edge of St Giles' Cathedral and surrounded by Parliament Square. The church also wanted to make sure the chapel didn't block light from the Cathedral. To make it feel grand, Lorimer designed the chapel to be very tall. The inside is only 5.5 meters (18 feet) wide and 11.5 meters (36 feet) long, but it is 13 meters (42 feet) tall!
Robert Lorimer was about halfway through his career when he designed the chapel. He was inspired by Gothic architecture from the late 1400s. The chapel uses stone from Cullalo in Fife. This same stone was used for the outside of St Giles' Cathedral and other buildings nearby. This makes the Thistle Chapel look like it belongs with the other buildings in Parliament Square.
Outside Details
On the outside, the chapel has strong horizontal lines at its base. From these lines, buttresses (supports) rise up. These supports end at the top with a decorative edge and a castle-like wall. This wall hides the flat roof. The way the buttresses lean inwards makes the chapel look even taller and stronger.
The buttresses divide the outside into sections. Between each section, there's a sloping base with ventilation holes. Above these, there are tall, narrow windows with decorative stone patterns. On the decorative edge above each window, a small angel holds a shield. Below each window, there's a shield and crown for each Knight who was part of the Order when the chapel was built. The curvy stone patterns on these windows are similar to old medieval patterns in St Giles'. At the east end, the wall rises higher for a special niche with a statue of Saint Andrew.
At the west end, there's an eight-sided tower with a small spire. This tower holds a spiral staircase that goes up to the roof. The west window sticks out like a bay window.
Between St Giles' and the chapel, a wide set of steps leads to the east door. This door goes into the ante-chapel. The round-arched doorway is from the 1400s and used to be at the south entrance of St Giles'. It was moved and reused several times before finding its current spot as the entrance to the Thistle Chapel's ante-chapel. Above the door, there's a heavy decorative band with symbols.
Inside Details
Ante-chapel
The ante-chapel is 7.6 meters (25 feet) long and 4.3 meters (14 feet) wide. It has two sections. On the west and north sides, there are arches that open into St Giles' Cathedral. The outside door is on the east wall. On the south side, a special arch with angels frames the door to the main chapel. It also has a carving and words remembering the Earl of Leven. The names of all the Kings and Knights from 1687 to 1909 are carved on the walls of the two eastern sections. A glass porch was added inside the east door in 1983.
The ceiling of the ante-chapel is a shallow, ribbed vault with many decorative bosses (carved knobs). The central bosses show Saint Andrew and the Lion Rampant (the Scottish lion symbol). There are 57 bosses and over 70 tons of stone in this ceiling!
The design of the chapel required the ante-chapel to be low. This was to make sure it didn't block light from the Cathedral windows. Lorimer used this to his advantage. He made the ante-chapel feel small and dark. This makes the main chapel feel even taller and more impressive when you step inside.
Main Chapel
The main chapel has three sections, a rounded east end, and a flat west end. Above the seats (stalls), there are tall, pointed windows. The single window at the east end has angels on either side. At the west end, a single bay window is framed by a pointed window with decorative shapes. On the north-west side, there are fake windows with stone patterns. These frame carvings of the coats of arms of several Dukes and Earls.
A shallow, ribbed ceiling covers the tall inside of the chapel. Even though it's much higher than the ante-chapel ceiling, it has a similar design with large bosses. At the center of each section, a small angel plays a different musical instrument. These musical angels might have been inspired by similar carvings in other old Scottish chapels. Between the decorative bosses (many showing national flowers of the UK), there are angels holding shields. These shields show the coats of arms of the first eight Knights and six Knights added by Queen Anne. The huge central bosses show the Royal arms of Scotland, Saint Giles, the star of the Order of the Thistle, Saint Andrew, and a pelican feeding its young (a symbol of sacrifice). Lorimer designed the ceiling in a style that was popular in English Gothic architecture. He also used large, strong bosses to remind people of old Scottish buildings. There are 98 bosses and over 200 tons of sandstone in the chapel ceiling. The biggest bosses weigh over a ton each!
Stonework and Carvings
The company A. Colville & Co. was chosen for the stonework. The detailed carvings were done by Joseph Hayes and his team. Over 1000 tons of stone were carved at their workshop. Then, they were moved by horse and cart to St Giles' Cathedral. Some final work was done as the stones were put into place. Hayes and his team were very skilled, but Lorimer always had the final say on the designs.
The most detailed carvings were done by a person known only as "the Greek." Alexander Carrick, who later became a famous sculptor, was also part of Hayes' team. Louis Deuchars made plaster models that Hayes and his team used to create the carvings. Alfred Nixon added the heraldic symbols (like coats of arms).
The chapel floor is made of Ailsa Craig granite with panels of Iona marble. This was laid by Allan & Sons. On July 4, 1962, a special floor plaque for King George VI was revealed by Queen Elizabeth II. This plaque was made of granite with a bronze border and lettering. The Royal Arms of Scotland are made from inlaid marble pieces.
In 1927, Pilkington Jackson carved the names of the Knights and Kings of the Order of the Thistle from 1687 to 1909 onto the walls of the ante-chapel.
Woodwork and Furniture
The company Nathaniel Grieve was chosen for the oak woodwork inside the chapel. Their workers made the wood panels and decorative borders. The most detailed wood carvings were done by the Clow brothers, William and Alexander, mostly from designs by Louis Deuchars. The Clow brothers worked almost only for Lorimer.
Lorimer based the design of the Knights' seats (stalls) on those at St George's Chapel, Windsor. Each seat has an animal on its armrest. Some of these animals were based on the animals in the Knights' coats of arms. The Clow brothers carved them from Lorimer's rough drawings. Each armrest has a twisting pillar that holds up a canopy over the seat. On each point of these canopies, there's an angel. There are two angels above the King's seat. Between the canopies, there are angels playing musical instruments. Deuchars designed each angel to look unique.
Above each canopy are three smaller canopied niches. The niches above the King's seat have sculptures of Saint Mungo, Saint Margaret of Scotland, and Saint Columba. Above the niches of each Knight's seat are tall, decorated spires. These spires have the crown, helmet, and crest of each Knight. A decorative sword stands next to each spire.
The King's seat in the middle of the west end is very detailed. Its spire is 10 meters (33 feet) tall. The two seats next to it, which are for royal Knights, are a bit shorter. The other Knights' seats are 7.6 meters (25 feet) tall. The book rest in front of the King's seat has a large panel with the full Royal Arms of Scotland. On the ends are the shields of Queen Anne and King James VII.
The lower part of the rounded east end is paneled. It has a continuous canopy of arches below a decorative wall. The paneling in the middle section above the holy table is the most detailed. It has a sculpture of a winged figure defeating a dragon, which represents evil. This might be Saint Margaret of Antioch.
Moxon & Carfrae painted and stained the wood. They also had the job of keeping the woodwork in good condition.
Furniture Pieces
Several wooden furniture pieces were added when the chapel was built. These include the Dean's chair and book rest, and the lectern (a stand for reading) and reader's seat. A small table, designed by Lorimer, was added in 1920. This table is in the north alcove of the rounded end. It was made when Sir John Hatt Noble Graham gave a silver cup and plate from a collection. Nathaniel Grieve also made a seat and desk for an attendant in the ante-chapel in 1927. Eight oak stools were added in 1934.
A communion table with a short back piece was made as a memorial to King George V. It was designed by John Fraser Matthew. The front of the table shows the Lamb of God. The back piece has symbols of the Trinity. This table replaced the investiture chair at the east end of the chapel. King George VI was supposed to reveal the table in autumn 1939. However, because World War II started, it was delayed until July 1943.
Crests on Stalls
On top of the spire above each Knight's seat is a sculpted crown, helmet, and the crest of the Knight currently holding that seat. When a Knight dies and a new one is appointed, the old Knight's crest is replaced with the new one's.
From when the chapel was built until 1966, the crests were carved by the main carver of Scott Morton & Co. Moxon & Crafrae originally colored the crests. Later, A.C. Wood & Son did this. Then, Whytock and Reid carved the crests until 1983. Since then, John Donaldson has done the work.
Stained Glass Windows
The trustees wanted a Scottish artist for the chapel's stained glass. But Robert Lorimer preferred Louis Davis, who was based in London. As a compromise, Davis was asked to design seven windows showing the coats of arms of the Knights when the chapel was built. The Scottish artist, Douglas Strachan, was chosen to design the east window, which shows Saint Andrew.
Each window with coats of arms is split into two main sections by a central stone bar. Each section has a coat of arms. Lorimer wanted clear glass around the arms to let light into the chapel. Davis used slightly imperfect "brown" glass instead of perfectly clear "factory" glass. In the top part of each window, there is a zodiac sign. These were designed by Karl Parsons.
On the north side, going clockwise, the windows show the arms of various Marquesses, Earls, Dukes, and Lords. The single window at the west end, also by Davis, shows the Royal Arms of Scotland.
Strachan's single east window shows Saint Andrew above the Royal Arms of Scotland. Two angels above him hold his cross and a martyr's crown. It's unusual because Andrew is shown as a fisherman, not at his death. He looks like a strong, working fisherman holding his net.
In 1982, small stained glass windows replaced the ventilation grilles in the old boiler room below the chapel. These were designed by Christian Shaw and show the days of creation.
Metalwork Details
The wrought-iron gates of the ante-chapel and the iron parts of the chapel's doors were made by Thomas Hadden and his workshop. Hadden based the design of the gates on old medieval church screens.
Hadden's workshop also made the bronze curtain rails at the east end and the metal helmets on top of each Knight's seat. The crowns below the helmets were made by T.K. Ebbutt and painted by Moxon & Carfrae. Ebbutt also made special ceremonial keys for the chapel, which have Saint Andrew on them.
Hanging electric lamps were made by the Bromsgrove Guild. They were based on models by Louis Deuchars. These lamps have angels holding torches above a hanging part that shows a pelican feeding its young. When the east end was changed in 1939, a new lamp was added. Over the years, some of the hanging parts went missing, and one lamp was stolen. In 2006, new ones were made. The Bromsgrove Guild also made the handles and keyhole covers for the chapel door.
Along with the communion table revealed in 1943, a silver-bronze cross was added at the east end. Designed by John Fraser Matthew, the cross has square enamel panels at each end. These panels show the symbols of the Four Evangelists. They were designed by Morris Meredith Williams and enameled by Harold Conrad William Soper.
Other metalwork includes door locks and hinges by Low & Methven and outside lead pipes by W. Dodds & Sons.
Stall Plates
The coat of arms of each Knight is shown on a special plate attached to the back of their seat. When a Knight dies, their plate stays there, and a new plate is added for the new Knight. This tradition is common in the United Kingdom's orders of chivalry. Similar plates have been used for Knights of the Garter at St George's Chapel, Windsor Castle since the 1400s.
At first, Knights were seated by how long they had been in the Order. The oldest Knights sat closest to the King. As older Knights died, others moved up, and their plates moved with them. This means many of the original plates are now at the west end of the chapel. Since the 1920s, each Knight's plate stays on the same seat, no matter how long they've been in the Order.
The earliest stall plates in the chapel were made by Phoebe Anna Traquair. She was a well-known artist in Scotland's Arts and Crafts movement. Even though Robert Lorimer was friends with Traquair, he first wanted someone else to make the enamel plates. However, the trustees suggested Traquair because she was an Edinburgh artist. Experts say Traquair's plates are "quite unlike any chivalric stall plates seen before." She worked at her home studio, using a special technique to make the enamel look shiny and jewel-like.
The Lord Lyon King of Arms preferred a "cut-out" style for the plates, showing only the arms without a background. This style has been used since 1911, making the Thistle stall plates look very consistent. He also said that for complex coats of arms, only the first part should be shown.
Traquair made the 19 stall plates needed in 1911. After that, Elizabeth Kirkwood made the plates. She was influenced by Traquair's style and also added a 3D effect to the helmets and mantling (the cloth around the helmet). Since 1963, A. Kirkwood & Son have made the arms. Since 1990, they have used resin instead of enamel. A few plates were made by Harold Conrad William Soper.
All the heraldic details in the chapel were based on drawings by John Sutherland, who designed stall plates until 1928. Since then, the designs have usually been made by the official Herald Painter to the Court of the Lord Lyon.
Textiles
When the chapel was built, Nell Kay Drew made the decorative cloth (mantling) that hangs from the helmets above each Knight's seat. The mantling above the Knights' seats is made of damask fabric. The mantling above the royal seats is made of a richer fabric called cloth of gold. Whytock & Reid supplied two sets of brocade curtains for the east end. One set is green for everyday use, and the other is red for special services of the Order.
In 1935, Captain William Dunn gave an old Spanish altar cloth to the Dean of the Thistle. This cloth belongs to the Order and is kept at St Giles'.
When the chapel opened in 1911, there wasn't a good way to hang the Knights' banners inside. King George V decided that no banners would be hung there at all. Since 1953, the Knights' banners have been hung in the Preston Aisle of St Giles' Cathedral, which is right next to the chapel.
How the Chapel is Used
The Knights of the Thistle usually meet for worship in the Thistle Chapel every other year. This is when new Knights are officially welcomed by the monarch. They also meet every year on the Sunday closest to Saint Andrew's Day. King George V started this annual service.
At the installation service, the King or Queen arrives from Holyrood Palace. They then walk into St Giles' Cathedral with the Knights and officers of the Order. Inside the chapel, a new Knight is led to their seat and takes an oath. After the installation, the King or Queen and the Knights worship in the Cathedral.
Since December 1949, a special Bible with a binding designed by Linton Lamb has been used at every Thistle service. King George VI gave this Bible to celebrate his daughter's marriage.
Services of the Order are led by the Dean of the Thistle. Since 2019, the Dean has been the Reverend Professor David Fergusson.
Why the Chapel is Important
When the Thistle Chapel was built, Robert Lorimer was already known for designing homes. But the Thistle Chapel was his first major church building and his first in the "full Gothic" style. However, the Thistle Chapel made Lorimer known as "Scotland's leading expert in Gothic architecture." This was recognized when he was made a knight. He then received other big Gothic projects, like restoring Dunblane Cathedral and Paisley Abbey, and later designing the Scottish National War Memorial. In the Thistle Chapel, experts say Lorimer truly captured the feeling of Gothic architecture. He made it feel like it was reaching upwards, beyond the physical world.
The Thistle Chapel was also built during a time when Scottish architects were trying to create a unique Scottish church style. Some experts say the Thistle Chapel is the best example of this "nationalist trend" in church architecture. They compare its rich and detailed design to other architects' simpler styles.
Besides being an important Gothic building, the Thistle Chapel is also seen as a beautiful example of the entire Arts and Crafts movement. Many experts agree that the chapel's overall beauty comes not just from Lorimer's design, but from the teamwork of many skilled craftspeople. This teamwork is a key part of the Arts and Crafts movement.
Many people also see the chapel as important for Scotland's national identity and politics. One expert noted that with the chapel's completion, "the ancient realm of Scotland had clawed back a major element in the unique identity of the country." Another said that Edinburgh gained "one of Scotland's richest architectural wonders of the 20th century." The chapel's design is seen as being driven more by Scottish patriotism than by religious worship.
See also
- St Giles' Cathedral
- Order of the Thistle
- Robert Lorimer
