Rosslyn Treasury Read online

  A Rosslyn Treasury

  Stories and Legends from Rosslyn Chapel

  To Mary with love and thanks.

  My heartfelt thanks are due to Christian Maclean of Floris Books, for first suggesting the idea of a book about Rosslyn; to Christopher Moore, my editor, whose advice and guidance were wise, kind and invaluable; to the staff of Rosslyn Chapel, for their cheery helpfulness; and my family, who supported and encouraged me throughout.

  Contents

  Title Page

  Dedication

  ROSSLYN AND ITS STORIES AND LEGENDS

  A BRIEF HISTORY OF ROSSLYN

  1. The Expulsion from Eden

  2. The Golden Legend

  3. The Green Men — Osiris

  4. Hermes Trismegistus

  5. Melchizedek, Abraham and Isaac

  6. Moses

  7. The Temple of Solomon

  8. Elijah

  9. The Three Kings

  10. Saint Veronica

  11. The Soldiers of Golgotha

  12. The Cockle Shell

  13. Mani and the Cathars

  14. The Twin Dragons

  15. The Legend of the Holy Grail

  16. Saint Margaret

  17. The Rise and Fall of the Templars

  18. The Heart of Robert the Bruce

  19. The Rose Cross: A Fantasy of Rosslyn

  20. The Last of the Templars

  EPILOGUE

  SOURCES AND FURTHER READING

  Copyright

  Rosslyn and its Stories and Legends

  This is a collection of stories, all of which are inspired by Rosslyn Chapel. The many carvings in the chapel represent stories, and here, many of those tales are retold. They come from ancient myth and legend, from Biblical sources, and from traditions close to the Bible, such as the tales of Jewish folklore, collected by Micha Joseph bin Gorion. Some of them come from Scottish and European history and others from more modern sources. As diverse as they are, they are a testament to the richness of the culture that Rosslyn represents.

  Rosslyn Chapel stands some eight miles south of Edinburgh. At first sight, it is a fairly small, gothic construction, rather dark and perhaps even forbidding-looking. On entering, though, the first impression is of a building larger on the inside than the outside. The ceiling seems higher than the outside suggests, and the stained-glass windows brighter and more colourful. Looking eastwards, the arches of the Lady Chapel, with their strange rhomboidal protuberances, seem unwelcoming, as though guarding a secret, like a sort of barbed-wire fence for the imagination, keeping it at bay. Rosslyn is famous for keeping its secrets!

  The awakened face and the Recording Angel: the beginning of pilgrimage.

  For many, even today, when the idea of a pilgrimage could be thought to belong to an earlier time, Rosslyn is a stage on the pilgrimage to Santiago de Compostela, in the north-west of Spain. This journey goes by way of Chartres Cathedral, near Paris, and many of Rosslyn’s carvings have their counterpart in Chartres. In the past, on their return, the pilgrims would place the token of their journey, a cockle shell, on a pile with others. The shells would then be ground up into the mortar that holds the chapel together.

  But what, after all, is a pilgrimage? Perhaps we can think of it as a journey, usually to a place with particular spiritual resonance. To undertake this journey means that the traveller wishes to change something within him or herself; both to deepen his or her own spiritual awareness, and to be able to penetrate more fully the significance of the place of pilgrimage on arrival. The journey is as important as its end, as it is the conscious preparation for the arrival. Many of the stories here involve such journeys.

  A long tradition links Rosslyn Chapel with the Templar Knights. Indeed, there are signs in the chapel that indicate a connection, even though the chapel was not begun until over a century after the Templars had been harried out of existence through the machinations of a vengeful and avaricious king. The links and traditions that bind Rosslyn to the Templars mean that their story must be told here.

  Rosslyn is also connected in many people’s minds with the Holy Grail, especially after the publication of Dan Brown’s book, The Da Vinci Code — not to mention the film based on the book, shot partly on location at Rosslyn. The Grail has engaged the imaginations of people for over a thousand years. Naturally, there is a chapter here that considers that mysterious subject.

  Some themes seem to recur throughout the stories: initiation practices; the Sons of the Widow; the Templar Knights themselves. Historical personages appear, sometimes as pilgrims following their journey through life, sometimes as less admirable individuals.

  In recent years, Rosslyn has appeared as the background to newer stories. I have followed this trend in two stories, one of which, A Fantasy of Rosslyn, includes an account of a Rose-Cross initiation, such as is hinted at in a particular carving in the chapel. It should, however, be made clear that this description comes from a time shortly before the Rosicrucians — the followers of that extraordinary individual Christian Rosenkreutz — began their work in the world. It seems to me unlikely, though, that there should be no connection at all between the Rose-Cross depicted in the chapel and the symbol of Christian Rosenkreutz. The final tale, The Last of the Templars, is based on a true story that I discovered during my research for this book.

  Here, then, are myths, legends and other tales inspired directly by that remarkable building, Rosslyn Chapel. I hope you enjoy them, and even that, if you have not already done so, you might visit the chapel, perhaps even to find new stories of your own.

  The postulant led to the place of initiation. The carving is much weathered and worn, but the blindfold and cord round his neck are still visible.

  A Brief History of Rosslyn

  The Sinclairs of Rosslyn

  The Sinclairs, who built Rosslyn Chapel, came originally from Norway, tracing their descent from Rognvald of Moere. A branch of the family settled in Normandy, at Saint Clair-sur-Epte, whence they took their Norman-French name, Saint Clair. They arrived in Britain with William the Conqueror in 1066, but some members of the family travelled north, and found fame and honour in Scotland.

  The Barony of Roslin, or at least, a goodly portion of it, was given to one William ‘the Seemly’, a member of the Sinclair family, by King Malcolm Canmore in life rental, at first, at the end of the eleventh century.*

  This William Sinclair, along with the Hungarian knight Ladislaus Lecelin, had been part of the escort for Margaret, the Saxon princess and descendant of King Alfred the Great. She later married Malcolm Canmore, and a chapter in the book tells her story. Ladislaus Lecelin remained in Scotland to become the progenitor of the clan Leslie. The whole barony was given to the Sinclair family as free heritage by Malcolm and Margaret’s youngest son, King David I, as a reward for helping to protect the border against English invasion.

  Some two hundred years later, another William Sinclair, the third Earl of Orkney, succeeded his father in 1417. He was very young at the time; no more than six or seven. Father Richard Hay, whose mother, after becoming widowed, married Sir James Sinclair of Rosslyn, devoted a great deal of his time to studying various documents in possession of the Sinclair family, and gave us probably the best early history of the family and the chapel extant. Writing in the seventeenth century, he tells us that the third Earl:

  … his age creeping on him … made him consider how he had spent his time past, and how to spend that which was to come … (It) came into his minde to build a house for God’s service, of most curious worke …

  This ‘house for God’s work’ was of course Rosslyn Chapel. The date that Father Hay gives for the commencement of the work is 1446. That was the year in which permission was given for the building to commence on a site near R
oslin Castle, of what had been an ancient centre of Mithras worship during Roman times.

  The building of the chapel

  It seems that it was originally intended that the final building should be a much larger construction. However, Earl William died in 1484, and his son Oliver did not carry out the design for the larger building, but made sure, simply, that the structure be finished off in the state in which William left it at his death. Oliver’s son made sure that lands were available for houses and gardens for the provost and prebendaries. That, at any rate, is one version of the story. Others hold that Rosslyn was never intended to become the great cathedral building that was projected, but was built with a different purpose.

  The work ended in 1487. Thus the chapel was forty years in construction, like the Temple of Solomon, as we know from the Gospel of John. Perhaps this alone was a hint to Oliver Sinclair that no more work needed to be done: a temple of a sort was accomplished.

  The Apprentice pillar.

  Earl William employed a number of masons, smiths, carpenters and others. The carvings were first made in wood; approval for the designs was sought from Sinclair, or his colleague in the guidance of the building, Sir Gilbert de la Haye; then, if approval was given, the masons copied the designs in stone and fixed them into the fabric of the building. In the words of Father Hay:

  He rewarded the massones according to their degree, as to the master massone he gave forty pounds yearly, and to everyone of the rest ten pounds, and accordingly did he reward the others, as the smiths and the carpenters with others.

  Mark Oxbrow and Ian Robertson in Rosslyn and the Grail and Alan Butler and John Ritchie in Rosslyn Revealed point to the importance of Sir Gilbert de la Haye in the construction and indeed the conception of the chapel. Sir Gilbert was a scholar, educated at Saint Andrews University, and had served in France in the Garde Écossaise, in support of Joan of Arc. He was a gifted linguist, and commissioned by Earl William to translate various works of chivalry. Oxbrow and Robertson go so far as to suggest that the idea of building the chapel came originally from Sir Gilbert and the Earl’s wife, Elizabeth Douglas. Many scholars are agreed that the influence of Lady Elizabeth on the early construction of the chapel was very strong. However, she died in 1451, shortly after work on the chapel began. Her coat of arms is to be seen in the Lower Chapel, or crypt, together with her husband’s. In another place in the crypt, Earl William’s coat of arms stands alone, and in yet a third place, we see his arms together with that of his second wife, Marjorie Sutherland.

  Sir Gilbert and Earl William, between them, possessed a formidable amount of esoteric knowledge. Dr Tim Wallace-Murphy, in his book Rosslyn — Guardian of the Secrets of the Holy Grail describes Earl William as ‘one of the Illuminati … an adept of highest degree’, while the books written and translated by Sir Gilbert show that he, too, was something of an initiate.

  Already by 1456, the structure at Rosslyn was known as a ‘College Kirk’, or Collegiate Church. The word ‘collegiate’, however, does not necessarily imply the existence of some sort of group of people banded together in some worthy enterprise.

  Some forty-five such churches were built in Scotland ‘to ensure salvation for the founder and his family by providing for prayers to be offered in perpetuity by a succession of Priests.’ (Richard Fawcett, Scottish Architecture 1371–1560.) All that was finished of Rosslyn, though, was the quire, the ‘head’ as it were, of a cruciform building; the easternmost part of the structure. Christopher Knight and Robert Lomas argue in some of their books that this was quite intentional, and that the resulting structure was an imaginative reworking of the Temple of Solomon, with all that that suggests for the Craft of Freemasonry. Others remain extremely sceptical about this. Whether Rosslyn Chapel is a highly imaginative reworking of Solomon’s Temple or not, it is very similar to the quire of Saint Mungo’s Cathedral in Glasgow, though Saint Mungo’s is much bigger, and has nothing of the carving that makes Rosslyn so interesting.

  Earl William’s difficulties were increased in the 1450s and 1460s, and it appears that there were fewer funds available to him. Between 1468 and 1470 he lost the majority of his Orkney earldom. Thus it seems likely that he was, in fact, struggling financially at this period. Indeed, if Rosslyn is an unfinished Collegiate Church, it is not alone. There are others that never reached completion, for various reasons. But even in its unfinished state, a provost and prebendaries — that is, priests attached to the chapel — were put in place to make sure that the Holy Offices were observed regularly, in common with other Collegiate churches in Scotland.

  The Reformation

  The chapel became a Roman Catholic church during the early part of the sixteenth century, but with the Protestant Reformation, it suffered a great deal of damage. John Knox, the reforming prelate, mentioned with some bitterness during the 1560s to his congregation on one occasion that Mary Queen of Scots was in the habit of hearing mass either at Rosslynor at Woodhouselee, while she was resident at Craigmillar Castle. It was not long before Knox’s hearers marched on Rosslyn Chapel intent on destruction, calling the place ‘a house and monument of idolatrie’. It is said that they hauled down statues of the Apostles from the niches above the nave, and smashed them up. Luckily, a local farmer by the name of Thomas Cochrane told the mob that the nearby castle cellars were full of good wine. The image-smashers gladly abandoned their work and made for the castle. The loss of the statuary is grave, but thanks to Tam Cochrane, the damage was not worse.

  In spite of the reforming zeal of the times, the Sinclair family of Roslin had remained Catholic for some fifty years after the Reformation. The Provost and the prebendaries of the chapel had resigned in 1571; this is not surprising when one learns that their endowments, which had been withheld on a regular basis, were now taken from them ‘by force and violence’, and their homes vandalized by the mob. In August 1592, the stone altars in the chapel were dragged out and destroyed. The destruction of the altars ‘till one stane or tua hight’ (to the height of one or two stones) clearly did nothing to reconcile Sir William Sinclair— yet another of that name — to the new Protestant Church of Scotland. He was accused of not attending his parish church in Lasswade, as the law demanded; but he argued that he was resident in another parish that had no minister. On being asked about the baptism of one of his children, he replied that he did not know whether the child was baptized or not. This child was probably illegitimate, and Sir William was given the reputation of being a lewd man, who kept a miller’s daughter as a mistress. When summoned to do penance for fornication, he refused to sit on the ‘creepy stool’ for every such offence, but indicated that he would consider sitting if he was given a quart of wine to pass the time. Finally, Sir William and his girlfriend left Scotland for Ireland, hoping to find life more amenable to Catholics there.

  By the seventeenth century, Rosslyn was now no longer considered a place fit for Christian worship. When General Monk came north to fire on Roslin Castle in 1650, on behalf of the forces sympathetic to Oliver Cromwell, the chapel was used as a stable for the General’s horses. This was the same year in which another Sir William Sinclair fell at the Battle of Dunbar, and was the last of his family to be laid to rest in his armour beneath the floor of the chapel. This at least indicates that the chapel was still of considerable importance to the family as a mausoleum, if not a place of worship.

  Again, in 1688, a Protestant mob attacked the chapel, defacing the carvings. Even though it was no longer recognized as a House of God, the chapel continued to make its influence felt in subtle ways, and crowds often came to Rosslyn to wreak further damage in the name of their Protestant sensitivities in the face of anything that smacked to them of idolatry.

  The chapel in disrepair

  Thereafter, the chapel was somewhat neglected. The estate came into the possession of General James Sinclair, another member of the family, in 1736. He at least cared enough about the chapel to cause the windows to be glazed, the roof to be repaired and the floor to be rel
aid with flagstones, indicating, surely, that the chapel was being put to some sort of use, though what remains obscure. The Sinclairs were no longer laid to their long rest in the vaults under the chapel, as they had been until 1650.

  When William Wordsworth and his sister, Dorothy, visited the chapel in the early autumn of 1807, it was already in danger of becoming a ruin. Dorothy recorded her impressions thus:

  Went to view the inside of the Chapel of Rosslyn, which is kept locked up, and so preserved from the injuries it might otherwise receive from idle boys; but as nothing is done to keep it together, it must, in the end, fall. The architecture within is exquisitely beautiful. The stone, both of the roof and walls, is sculptured with leaves and flowers, so delicately wrought that I could have admired them for hours, and the whole of their groundwork is stained by time, with the softest colours. Some of those leaves and flowers were tinged perfectly green, and at one part the effect was most exquisite — three or four leaves of a small fern, resembling that which we call Adder’s Tongue, grew round a cluster of them at the top of a pillar, and the natural product and the artificial were so intermingled that, at first, it was not easy to distinguish the living plant from the other, they being of an equally determined green, though the fern was of a deeper shade.

  The guide to the chapel in the time of the Wordsworths’ visit was one Annie Wilson, described by a reporter from The Gentleman’s Magazine of September 1817 — in decidedly ungentlemanly terms — as ‘an old crone’. Annie was particularly keen to show visitors the Apprentice Pillar, designed, according to the legend, by the apprentice Tam Nimmo, from Orkney, who dreamed of the pillar, and drew what he had seen in his dream. This he showed to Earl William, who approved the design. Annie Wilson used to point out its features, and other aspects of the chapel, with a long divining rod: