There is no doubt in my mind that the Foulis Memorial and the Bannatyne are the two most outstanding examples of monumental architecture in Greyfriars Kirkyard. Each stands alone as soaring celebrations of the symbolism of death, resurrection and status. Each is a sermon in stone that speak volumes about the people they were raised to memorialise and the time in which they died. But do they somehow speak to each other ?
The Foulis was commissioned by George Foulis, the son of the deceased and it was created by the finest Master Mason of the period, William Ayton, in 1633/34. The Bannatyne was commissioned by Janet McMath, the young wife of the deceased and also created by William Ayton in 1635. Whilst each monument has much in common, they are different in some obvious and perhaps quite subtle ways.
The Foulis is designed to be a “look at us” monument, with the portraits of the deceased loving power couple taking centre stage. They look down on viewers from their lofty stance, where they are dressed to impress in their grand, perhaps rather haughty, clothing. Despite the inscription describing them as “humble”, there is nothing remotely modest or reserved about this memorial. One can’t help but think the Kardashians would approve.

The Bannatyne on the other hand is designed around the theme of Vanity and the need to avoid it. “Vanitas” is the use of symbolism to convey the meaning that life on earth is but a passing phase in which ambition, and worldly desires are futile, a mere vanity. Vanitas artwork developed and became very popular in Holland in the 16th & 17th centuries, where many Scottish people went to study, trade or escape. They were influenced by this art and inevitably brought it back to Scotland. This genre is depicted on the Bannatyne with symbols showing a Cherub blowing bubbles, amongst flowers and smoke, with the words “Nothing evades Death” and “What is Man’s Life ? A shade, a smoke, a flower ; short to the good, to the bad doth long endure” and “know the vanity of transitory things”.
Perhaps this theme on the Bannatyne serves deliberately to contrast with the excessive flamboyant pretentious pomposity of the Foulis ? So could Janet McMath be speaking to George Foulis, saying “I disapprove of your vanity” in a rather subtle & dignified manner ?

That either Monument was tolerated by a strictly Protestant society in 17th Century Scotland is something of a surprise. Although perhaps Charles I’s attempts to reintroduce colour, style and ceremony in the 1630’s was almost encouraging such elaborate works.













