© 2018 Snapping the Globe, L.L.C. All rights reserved.
A chapel and a castle?
After visiting Rosslyn Chapel, take a walk down the picturesque country road, past Rosslyn Cemetery.
Taking in the beautiful countryside scenery, you will soon find yourself encountering the ruins of Rosslyn Castle, a sharp contrast to the well-preserved chapel that we had just visited.
Perched high on a bluff, in the middle of a wooded valley and surrounded on three sides by the River North Esk, are the remnants of the Sinclair family manor. Only accessible by a narrow bridge crossing a wide ravine, the remains are quite a surprise, hidden away in the dense forest.
The building of the castle was begun in 1304 by William St. Clair of Rosslyn and over the next three centuries reinforced, bombarded, rebuilt, extended, burned and all but destroyed. Since it never was a very secure structure, it became the home for many generations of Sinclairs, until William, died in 1778. After a visit by Cromwell’s troops, the castle was left pretty much in the same condition as it can be seen today.
While crossing the bridge, it’s difficult to imagine what may have once been here, but still impressive nonetheless. Gone is the original Wall Tower, the earliest part of the castle and the gatehouse over the entrance, but fragments of the fore walls still stand tall at the end of the walkway.
A French influenced two story home stands to the left of the courtyard, also built by William Sinclair, when he extended the castle between 1582 and 1597. Though the home is still in good condition, it is not accessible to the public.
As we descended a path near the start of the bridge, we walked beneath the remaining castle walls toward the river’s edge. Here, gardens once prospered and provided food for those who resided in the castle. The river gurgled and wound its way through the forest and we walked over the footbridge to take a closer look. We learned later that there is a scenic river walk from the ruins of the Roslin Gunpowder Mills, through what used to be a carpet factory and cottages, across the North Esk, around the castle, below the chapel via Gardener’s Brae and to Hawthornden and beyond.
Taking the short walk on our return back to the bus stop, we stopped for a few moments to pay our respect at the Rosslyn Cemetery.
While out at Rosslyn Chapel, make time to explore the forgotten ruin, an important part of Scotland’s and the Sinclair family history.
For more pictures, check out Facebook, Snapping the Globe and Instagram, @snappingtheglobe.
Rosslyn Castle
A most breathtaking structure, its architecture is considered to be amongst the finest in the country. Construction began on the chapel, formerly known as the Collegiate Chapel of St. Matthew, in 1456, by William Sinclair, the First Earl of Caithness for worship by the Sinclair family. After the Scottish Reformation in 1560, Roman Catholic worship in the chapel ended. It was then closed to public worship until 1861, and then opened again according to the rites of the Scottish Episcopal Church.
Circling the church, we admired and photographed the carvings on all of the chapel’s outer walls. Though some are harder to distinguish than others, it was easy to pick out a fox running off with a goose (with the farmer’s wife close behind) on the north wall and faces carved into the window arches along with animals such as a stag and a ram. The west wall shows how the chapel was originally intended to be a much bigger building with doorways, which would have led to a nave (now blocked) and other features not normally found on exterior walls (as this was not planned to be one).
Eight Nordic dragons ring the base of an ornate pillar and more than 110 carvings of pagan deities known as Green Men can be found throughout the chapel. These human faces are surrounded by greenery, often growing out of their mouths. One arch depicts figures waltzing with their future skeletons and a double humped camel and bunches of maize can be spotted, both not found in Scotland. Stories from both the New Testament and the Old Testament are illustrated as well as 213 cubes protruding from pillars and arches with patterns on them. It is speculated that these patterns may have meaning, some thinking it is a musical score. Though there is much conjecture about the carvings and their meanings, not much is known as several fires at the nearby Rosslyn Castle consumed much of the St. Clair family’s archives and documentation on the chapel.
Originally planned in a cruciform shape, the chapel stands on fourteen pillars. The three pillars at the east end of the chapel, the Journeyman Pillar, the Master Pillar and the Apprentice Pillar all date from the Georgian period. The most interesting of the three, the Apprentice Pillar has a most intriguing legend attached to it. The master mason had decided the pillar to be too difficult to carve and had departed to Italy to study with other masons. His apprentice, however, decided to carve the pillar in his absence. When the master mason returned and saw the outstanding work, he killed the apprentice with his mallet. The wounded head of the apprentice was then carved into one capital of the pillar and his weeping mother was carved into another.
Descending into the sacristy, we were aware that it is also known as the crypt, though not the actual burial vault that lies underneath the chapel where several generations of Sinclairs rest. The actual crypt was once accessible from a descending stair at the rear of the building, however, it was sealed shut many years ago. Legends have resulted from the knowledge of this sealed crypt, many believing that it was a front for a more extensive subterranean vault which may have contained the reputed Templar treasure. In 1837, when the 2nd Earl of Rosslyn passed away, his wish was to be buried in the original vault. Though searches were conducted for many days, no entrance was found and he was buried beside his wife in the Lady Chapel.
The chapel, still owned by descendants of its founder, Sir William St. Clair is now guided by a trust that oversees the site. It is this trust that forbids the photography within the building. Several books are for sale within the gift shop offering a look at the unique interior published by the trust. Though photography is banned, other tourists were also spotted sneaking photos throughout their visit. After inquiring about the organ, we were allowed to photograph the area as this was not part of the original building.
Though the bridge, which has accommodated only pedestrians and cyclists since 2003, is high enough for the many low-profiled sightseeing boats to pass without opening, the bridge is opened throughout the day for other river traffic. In 1994, the bridge’s opening was automated, however, prior to that time, a bridge keeper was responsible for opening the bridge several times a day by hand.
During the era of Amsterdamse School, architects in the Netherlands were experimenting with new forms and developing remarkable designs, which included red brick motifs and elegant, curved facades. These architects were often involved with municipal projects, many commissioned by Amsterdam’s local government, producing avant-garde residential and public buildings. Aside from the well known, Het Schip and the Olympic Stadium, the architects worked on civic and utilitarian amenities including bridges, postboxes and yes, public toilets.
Though a small example of the Amsterdamse School’s ideals, the City Hall Urinal captures its essence with its curved western wall and modern statue, fist raised in the air, created by Hildo Krop, one of Amsterdam’s most prominent sculptors. Definitely a must see for architecture aficionados!
Setting out on my bike and riding along the canals, I passed throngs of tourists out enjoying a sunny break in the otherwise rainy afternoon. Searching for the Biblical Museum, I eyed each of the canal houses until finally finding the correct one and parked my bike. Trying the door, I discovered it to be locked.
The Suasso collection is disbursed throughout the Cromhout Museum, mainly on the second level, and is interspersed with the family’s prized collections. The home itself is also worth inspection as it gives a glimpse into the way of life that the families of this time period were accustomed.
When visitors to the Cromhout family arrived, they were received in the Antechamber, where a cabinet of curiosities, its drawers and cabinets filled with extraordinary natural phenomena, exotic items and unique hand-made artifacts, was located. The guests were then allowed into the Grand Salon, where parties were held and guests were entertained. The family’s art collection, a symbol of their status, was highlighted during a stroll around the first floor.
Artist Jacob de Wit, then young and relatively unheard of, was commissioned to paint the ceiling of the Cromhouthuis in 1718, one of his first ceiling pieces. The grand work of art depicts twelve Olympic gods, surrounded by personifications of the seasons, the points of the compass and the zodiac.
Two kitchens are also located in the home, one small and one large. The large, used for cooking since construction, was located in the basement so that temperatures remained cool and food stayed fresher for longer periods of time. The small kitchen, older than the rest of the home, was incorporated into the construction from a smaller house on the property. The red and green tiles were sourced from the Swedish island of Öland in the Baltic Sea.
In the rear of the property, the Cromhouthuis garden, is worth stepping out for a look, especially during a nice Dutch day. Although once longer than it is today, the design is one of order and symmetry and quite beautiful during the spring.
Since the Biblical Museum is also located on the premises, many biblical references were added to the garden’s design by landscape architect Jan Van Der Horst who incorporated an 18th century geometric pattern into the design and decorated the garden with plants and trees featured in the bible. The pools with stepping stones are a reference to the crossing of the Red Sea and the sculpture by Martie Van Der Loo represents the Apocalypse.
Since 1975, the upper floors of the Comhouthuis have housed the Biblical Museum. Having expected to find rows upon rows of dusty books, I instead found a light airy space consisting of biblical models, antiquities, archaeological finds and first edition bibles.
Adjacent rooms exhibit models of temples including a famous model of the Tabernacle, commissioned by the founder of the museum, Rev Leendert Schouten. This 19th century reconstruction uses materials mentioned in the Bible, including goat’s wool imported from Syria for the awning and sand from the Sinai desert.
Egyptian antiquities are also displayed including artifacts collected by Schouten in the 19th century. Inscribed stone slabs, funerary figurines, canopic jars (for mummified remains), scarabs, statues of the gods and a sarcophagus were intended to be laid out around the Tabernacle to give visitors an impression of the religious life of the ancient Egyptians. The most impressive item is a complete mummy of a young woman. Other unique items include oil lamps, clay tablets, earthenware, shards of pottery and coins.
Be sure to climb up to the loft area to observe varying photographic presentations.
Though my intentions were to only visit the Biblical Museum, I must admit that visiting the Cromhouthuis and its exhibition on the Soussa collection were the highlight of the my outing. Though probably not a museum that I would have picked out of a guidebook, it was a wonderful way to spend a drizzly afternoon and learn about the illustrious history of the Netherlands and their .
Access to the Catacombs, one of the fourteen City of Paris museums, is located near the Denfert Rochereau metro station in the Square de l’Abbe Migne. After waiting in the never-ending queue, you will descend via a staircase of 130 steps leading down 20 meters below ground. The area is dimly lit, and at times, narrow and low. There are many signs engraved on the walls, however, most will not be of any assistance in navigating the passageways. Architects and engineers of the Quarry Inspection Department marked their underground construction work during the 18th century. The number of the work site, initials and the year are engraved in the stone and are interesting to note. Other signs refer to the Arcueil Aqueduct, built between 1613 and 1623, on order from Marie de Medici, to bring water to the city from springs in Rungis and many of the passageways are identified by the avenues that run above them.
After a lengthy walk and an encounter with a display on the history of the catacombs, we soon came to the entrance to the ossuary, where a sign above the black and white doorways read “Stop, this is death’s empire!”. Stepping through the entryway, it is here that you finally encounter the remains of several million Parisians.
As we exited into the gift shop, we took a moment to look around at the merchandise offered and to utilize their restrooms. Stepping out onto the streets, near the intersection of Avenue Rene Coty and Rue Dareau, however, it became clear that our ending point was not near the beginning of our journey. Though we were able to swiftly determine the correct direction to return, it might be beneficial if signage pointed visitors back to the direction in which they came.
Taking the RER B, I headed north, changing lines to the RER D at Gare du Nord. Disembarking at Gare du St. Denis, I walked out of the station only to realize that nothing looked familiar. Asking for help, I proceeded to walk in the direction which I was pointed. About ten minutes later, following signs marking the way, I finally found the basilica.
Admittedly, the exterior is quite remarkable and some time should be taken to inspect and appreciate the intricate details on all facades of the church before entering. Admission to the nave is free and well worth a walk around. From here, you can determine why the church was promoted to cathedral status in 1966, so awesome is its beauty. Be sure to visit the gallery on the left side of the cathedral which showcases many royal items from past kings. From the nave, you can spy the tombs and monuments from afar, however, if you are aspiring to a closer look (which you will), you must pay the admission to the necropolis outside at the right of the basilica.
It’s Christmastime in the city!
