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Glamis means noise or sound; and in similar situations, where there are ravines in the district, the affix iss, yss, eis, signifying an obstruction or barrier, is common in the names of places with some descriptive appellation prefixed. The name Glamis, or Glammis, therefore, seems to be descriptive of the most striking natural features of the parish. A sweet sparkling rivulet called "Glamis Burn" flows down its centre for some miles, rushing, immediately to the south of the village, through the rugged ravine, the rush of water along its bottom producing a subdued murmuring sound. There is another derivation of the name, however, which seems more applicable to the parish in general, viz., that Glamis is probably a corruption of the Gaelic Glamhus, which means a wide open, or champaign country.

It is much to be regretted that, although still retaining some of its former features, the natural beauties of this picturesque and romantic dell have been utterly destroyed by the erection of a huge structure of solid masonry which stretches across the ravine, damming up the waters of the burn to form an immense reservoir of water, which stretches away among the trees to the south nearly as far as the eye can reach. As the temporary cause for the erection of this rude obstruction of the waters of the burn and the formation of the reservoir has now passed away, it is to be hoped this lovely and romantic spot will soon be restored to its natural and pristine beauty.

The hamlet or village of Glamis, apart altogether from the historical and classical associations of its neighbourhood, is one of the most beautifully-situated of our Scottish villages. Built on the banks of a mountain rivulet, and at the base of a lofty pine-clad hill, surrounded by scenery of the most beautiful and attractive description, and nestling amongst ancient and extensive woods, it presents a scene of retired and quiet seclusion from the busy world quite refreshing to the pent-up denizen of the crowded city.

Standing on the bridge, beneath which pleasantly flows the

burn already noticed, the view on either side, although necessarily somewhat contracted, is very pleasing and beautiful. To the north appear the barley mill, the church, churchyard, and manse, the village stretching away to our left, and a beautifully wooded dell, with the water of the burn flowing fretfully through its midst, opening up its romantic beauties to our right. Southward-the brook, the rocky ravine, the smithy, a few straggling cottages amidst their trim gardens and kailyards, and the ruins of a modern, unromantic factory are the principal objects which attract the eye; while high above, the Hunter Hill, in all its luxuriant sylvan beauty, crowns the scene as with a diadem of emerald, the happy birds meanwhile comingling their thrilling notes of gladness with the merry voices of the rustic urchins at roystering play on the village green. The dens and ravines in the parish are very rich in their display of wild flowers during the season in particular of the avens, geraniums, and anemones. Among the more rare plants may be noticed the orobus sylvaticus, and in the marshes along the Dean the yellow water-lily may be seen in all its beauty.

John de Logy-supposed to have been the father of the Queen of David II.-received the reversion of the thanedom of Glamis from that monarch in the year 1363. The reddendo was a red falcon to be delivered yearly at the feast of Pentecost. This thanedom was afterwards given to Sir John Lyon, ancestor of the Earls of Strathmore, in dowry with his wife, Jane, daughter of Robert II.

The oldest castles in Angus are undoubtedly those of Red Castle and Guthrie, both occupied in 1306, and supposed to have been built some centuries previous. It is true, Sir David Guthrie of Kincaldrum, and Treasurer to James II., acquired the Barony of Guthrie in 1465, and became the founder of the family of that ilk, but the castle, and name, and family had been in existence many centuries before that period.

Although from a remote era there was a royal residence at Glamis, or in its immediate neighbourhood, first noticed in

connection with the death of Malcolm II., in 1034, the present Castle was only begun to be built in the time of the first Earl of Kinghorn, who succeeded his father in 1578. This nobleman did not live to finish the work, the muchadmired ceiling in the great hall not being completed until 1620.

The chapel is a most interesting and beautiful apartment, the paintings on the walls and ceiling having been executed in 1688 by Jacob de Witt, the Dutchman, who a few years previous painted the Kings in the Picture Gallery of Holyrood Palace. The paintings in the chapel, however, are very much superior to those of Holyrood.

In the agreement between the Earl of Kinghorn and the artist, it was expressly stipulated that each of the fifteen large panels in the roof of the chapel should contain "a full and distinct storie of our Blessed Saviour, conforme to the cutts in a Bible here in the house, or the Service Booke;" while the lesser pannels were to be filled "with the angels in the skie, and such other things as he [De Witt] shall invent and be esteemed proper for the work." The altar-piece was to be the Crucifixion, "and the doore-piece the Ascencione." Our Saviour and His Twelve Apostles were to form the subjects of the paintings in the panels around the chapel, "in als full stature as the panels will permit."

For this work De Witt made a claim of 200 merks, which the Earl disputed, and wrote to the artist as follows:

"I would give now, after full deliberation, for the roof of the chapel, £15 sterling; for our Saviour, the Twelve Apostles, the King's father, the two Martyrs, St Paul and St Stephen, the altar and door-pieces, £20 sterling."

It is said that the chapel at Glamis is the only one besides Roslin in which the exclusive use of the Liturgy dates from a period preceding the Revolution of 1688. Roslin and Glamis thus link the Episcopal Church of the present with that of the past. It was first consecrated in 1688, on the eve of that Revolution which hurled the last of the Royal Stuarts

from the throne and expelled the Bishops from their Dioceses.

This ancient chapel, after a period of desuetude of nearly a hundred years, was re-opened for divine service on the Feast of St Michael and All Angels, 1866. The ceremonial of the day commenced with a solemn service of benediction, composed for the occasion by the Bishop of Brechin. The office concluded with the celebration of the holy communion, according to the old Scottish rite.

The second service, or Matins, followed soon thereafter, with the Benedicite sung as a processional chant by a full and well-trained choir, among whom were the Countess of Strathmore, Lady Elizabeth Arthur, Lady Constance Hay, and other of the guests at the Castle, along with several of the domestics. The clergy in their surplices, and the Bishop

in his robes closed the procession.

The chants used were Gregorian, and the anthem was the Dedication Hymn "Christ is made the sure Foundation." The musical service for the Holy Communion was "Marbeck's Plain Song." The effect of the fine chant, as heard in the chapel when the procession wound slowly from the crypt, up the grand stair-case, and through the ancient hall, was strikingly solemn and impressive, reminding one of old times,


"No sound of busy life was heard amid the cloisters dim,

Save the tinkling of the silver bell, and the sister's holy hymn." Previous to the re-opening of the hallowed shrine, great alterations had taken place in the interior arrangements and finishings of the chapel. The raised dais and box pews with all their graduated scale of rank, had disappeared, and in their stead were simple benches and chairs. In place of the old diminutive altar, there now arose a new one of large dimensions, splendidly vested in white silk, and richly embroidered in crimson and gold. On the super-altar was displayed a beautifully jewelled cross in all its symbolic significance with ornate vases of variegated flowers expressive of the

beauty of God's great creation. The heavy black panels in which the paintings are framed have been gilt, and the pictures themselves cleaned and varnished without, in the least, interfering with the air of antiquity which characterises the place.

The sermon by the Bishop of Brechin, from the appropriate text-Joshua xxiv. 15,-“But as for me and my house, we will serve the Lord," was a very eloquent and impressive one -concluding thus

"When I look upon this church I am called back to the recollections of the past. I see here a great religious effort upon the part of that strong-willed and predominant race who have so long inhabited this venerable Castle. I see here the first effort, after the doubts and difficulties of the Scotch Reformation, to raise a temple in the appropriate spirit to God. I see here the results of that short-lived period of civilization. -of high cultivation-which from the time of the accession of King James to the English throne, till the troubles about the Prayer-book, distinguished Scotland. I see here the dedication of Christian art to the services of the sanctuary— not, indeed Christian art after the spiritual glories of the Italian Schools, but still they did what they could, and those who decorated the church were, at least, no puritans. I see here almost the last act of our Bishops in its consecration just before the dis-establishment of our church. And I see where, in the time of our depressed position, the litany used to be said, and prayers arose to God, till at last the French Revolution came, and all became coldness, and the voice of prayer and praise ceased. These days, thank God, are gone for ever. I should be mis-using this place were I to use it as a vehicle for praise and flattery. We are all in the presence of Almighty God, answerable for those talents, for those powers, for those opportunities which God gives us, and when we have done all we are unprofitable servants. But, still, I do believe that this will be a day much to be remembered in the future annals of this ancient house-that done in the true

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