A talk by Chris Cooper on the The John Bayne of Pitcairlie Mausoleum, Greyfriars Kirkyard, Edinburgh. Focusing on the lives and legacies of John Bayne and Eupham Aikman.
This talk was given on 18th April 2026 as part of the Legacies in Stone community heritage project. Brought to you by Edinburgh World Heritage, the Friends of Greyfriars Kirkyard, and the City of Edinburgh Council as part of the Legacies in Stone project. Funded by the National Lottery Heritage Fund, thanks to National Lottery players.
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This is a slightly odd one for several reasons. Firstly it is inside the Greyfriars Kirk rather than outside. Secondly, it spent the first 290 years of its life elsewhere and was only moved here in 1938.
This is the memorial for Lady Yester (1572-1647). Margaret, Lady Yester donated funds to complete the Tron Kirk on the High Street in 1641 and further funds to build a new Kirk on Infirmary Street in 1644. This new Kirk bore her name. Lady Yester was buried in an aisle at that Kirk when she died aged 75 in 1647 and this elaborate memorial plaque was raised above her grave.
The original Lady Yester Kirk building was replaced in 1805 (with Lady Yester’s memorial retained) and in 1938 that Kirk building was sold to Edinburgh University to be used as their Estates Office (a role it still serves) and the congregation merged with Greyfriars. At that time Lady Yester’s memorial was itself moved to Greyfriars Kirk and now occupies the South East corner of the Kirk (known as Lady Yester’s Aisle).
Lady Yester’s memorial is very ornate with gold gilding and inlays that make it stand out. At the bottom of the plaque is a skull and crossbones on a swag. At the top is the family’s Crest consisting of a radiant sun beneath the family motto “LUX VENIT AB ALTO” (“light comes from on high”). The central panel is framed by pillars between which is another skull and crossbones topped by an hourglass, wings, and blades of corn. This is surrounded by the mottoes “MORS PATET HORA LATET” (“death is sure, the hour unsure”) and “SPES ALTERA VITÆ” (“hope for another life”). The inscription (with its quirky spelling) reads :
IT’S NEIDLES TO ERECT A MARBLE TOMBE THE DAYLIE BREAD THAT FOR THE HUNGRY WOMBE AND BREAD OF LYF THY BOUNTIE HATH PROVYDED FOR HUNGRIE SOULES ALL TYMES TO BE DIVYDED WORLD LASTING MONIMENTIS SHALL REARE THAT SHAL ENDURE TIL CHRIST HIMSELF APPEARE POS’D WAS THY LYF PREPAR’D THY HAPPIE END NOTHING IN EITHER WAS WITHOUT COMMEND LET IT BE THE CAIR OF AL THAT LIVE THEREFTER TO LIVE & DIE LIKE MARGARET LADY YESTER WHO DIED 15 MARCH 1647 HER AGE 75
Something remarkable just happened at Greyfriars Kirkyard. On April 18th, a team of volunteers, archaeologists, and conservators achieved what hasn’t been done in living memory: lifting the massive ledger stone within the John Bayne of Pitcairlie enclosure.
The Rescue Mission
For decades, photographic records showed the stone slowly being swallowed by the earth. After carefully clearing the topsoil, the team discovered the stone had cracked under the pressure. It has now been entrusted to expert stone conservator Nic Boyes for off-site repair before its eventual return to its rightful place.
The Mystery Below
Beyond the stone itself, the team was hunting for a hidden vault. With the Pitcairlie mausoleum showing signs of settlement, understanding the ground conditions is vital for its survival.
The findings so far:
The Vault: No entrance was uncovered yet, but clear evidence of burial activity was found.
The Next Steps: While the eye couldn’t see a vault, a future Ground Penetrating Radar (GPR) survey will map what lies beneath the surface.
The Details: Once cleaned, the ledger stone’s carvings may reveal secrets lost to time.
A Future Secured
These are small steps, but they are essential. Every discovery brings this Category A listed structure one step closer to a safe and secure future.
Two ways to stay tuned as we continue to peel back the layers of Edinburgh’s history. Please become a member of Friends of Greyfriars Kirkyard at fogk.org or join the Edinburgh World Heritage mailing list at ewht.org.uk
Supported by: the National Lottery Heritage Fund, thanks to the National Lottery players and the City of Edinburgh Council. Legacies in Stone: Connecting Communities with Historic Graveyards is a partnership project with Edinburgh World Heritage.
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 Foulis Memorial
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 ?
The Bannatyne Memorial
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.
This enclosure was raised by Rachel Balfour, the widow of William Forrester, a Writer to the King’s Signet who died in 1701. The inscription over the entrance speaks about William’s Mother & Father, of whom he was clearly very proud. William’s mother was Christine MacNeil, who had 8 sons and 3 daughters in 50 years of marriage to his father, Reverend Alexander Forrester. Alexander (born in 1611) was a committed Presbyterian and Covenanter who signed the National Covenant in 1638, served with the Covenanter Army in the 1640’s and steadfastly resisted Charles II’s attempts to impose an Episcopalian Church structure in the 1660’s. Alexander was Minister at St Mungo’s in Dumfriesshire, but refused to conform with Charles II’s “innovations” and so was expelled and subsequently arrested for holding an illegal conventicle. He then spent years imprisoned, firstly on Bass Rock and secondly in solitary confinement in the Edinburgh Tolbooth. He died in 1686 aged 75 and was buried at Greyfriars. His wife, Christine died in 1694 and was also buried at Greyfriars.
William was their 4th son who had a successful career as a Writer to the Signet. When William died in 1701 he left instructions to his Widow to erect this burial lair. When built this lair would have stood alone (like a detached house), with its elaborate external side walls, bearing many mortality symbols, fully visible. In subsequent years further burial lairs were built adjacent to the Forrester, effectively turning it in to a terraced house, with its side walls now less visible, but well worth seeking out. The Forrester Lair became a “Den” for youngsters (quite possibly pupils from Heriot’s School), who between 1710 and 1727, carved some fascinating graffiti on the inner walls, also well worth seeking out.
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.
Just to the left of the gates to the Covenanters Prison are this pair of memorials to a family of Theatre impresarios, Henry Siddon on the right and his brother in law, William Henry Murray on the left. Henry was an actor who first found fame on the stage in London, before relocating to Edinburgh to take over management of The Theatre Royal at the east end of Princes Street (now the General Post office buildings). His brother in law, William, took over running the Theatre Royal after Henry died in 1815, and did an excellent job.
Both men were close to Walter Scott who brought George IV to Edinburgh in 1822. William created the settings at various venues, contrived the “revived ancient dresses” and arranged the “traditional” pageants for which George IV’s visit is much remembered to this day. William was particularly acclaimed for his success in transforming the Assembly Rooms in George Street into a theatrical palace for the Peers’ Grand Ball, an event that was pivotal in making the tartan kilt, which had until then been thought of by Edinburgh Gentry as the primitive dress of the rougher sorts in the lawless Highlands, into the national dress of the whole of Scotland. The King’s last and least formal public appearance during his visit to Edinburgh was at a theatre performance of Scott’s Rob Roy adapted and produced by Murray.
Janet MacMath was buried at Greyfriars in 1630, 11 years before her Husband, John Trotter of Mortonhall, who died in 1641.
Janet is depicted with her husband, both dressed to impress with large neck ruffs & Janet has a large hood which frames her face.
John Trotter was a successful merchant in Edinburgh during the peaceful & relatively prosperous reign of James VI. John amassed a goodly fortune which allowed him to buy the large and fruitful estate and Baronage of Mortonhall. Thereafter their family line became “the Trotters of Mortonhall”, which they still hold to this day.
John & Janet were married in 1598 and over the following 19 years they had 10 children, six sons and four daughters. Janet’s date of birth is unclear so we can’t be sure how old she was when she died. But we do know that John lived to the grand old age of 88.
This memorial was erected on the North Wall of Greyfriars Kirkyard in 1641, initially open to the elements. But in 1709 their Great Grandson, also called John Trotter, erected a Mausoleum over the family burial ground, enclosing the memorial and thereby cutting it off from public view.
The inscription on the memorial is in Latin, and reads :
Mors patet, hora latet.
Octoginta ultra Trotterus vixerat annos;
Progenie felix, ambitione carens.
Publica privatus curavit; semper egenis
Aut opere, aut opibus, contulis almus opem.
Which translates to :
Death is sure; the hour unsure
Trotter lived for over eighty years;
Happy with his offspring & devoid of ambition.
He cared for the public good as a private citizen;
He always gave generous help to the needy,
Either by work or by wealth.
That should probably be read as if an application form for admittance to heaven ;o)
Janet Bannatyne was buried at Greyfriars in 1631 and is depicted on the Foulis memorial. Here she is shown, dressed to impress, wearing a fine Dutch style of clothing that frames her face. Janet was born in 1587, the only surviving child of George Bannatyne, a wealthy Merchant who was very famous for his work on Scottish literature. Janet was George Foulis’s second wife, marrying him in 1603 when she was just 16 years old and he was 34. Janet went on to have 16 children over the next 16 years. Janet died aged 44, with so many pregnancies likely having taken a large toll on her health.
Janet’s 16 children (5 girls and 11 boys) were born as follows :
Janet 1604, James 1605, George 1606, Agnes 1607, Robert 1608, Sara 1609, Patrik 1610, John 1611, Elizabeth 1612, Robert 1613, Alexander 1614, Issobel 1615, Thomas 1616, William 1617, David 1618, Nathanael 1619
So by the age of 32 Janet had had 16 children.
Sadly 6 of her children died as infants, with 6 more dying young. Only 4 of her children survived long enough to raise their own families. If you look closely there is a young child’s head with wings carved just above & to the right of Janet’s head, looking down at her. Perhaps this symbolises the souls of her children who had ascended to heaven before her.
Janet must have had unimaginable strength to have born so many children in such quick succession, then to have raised them and dealt with the loss of so many. Whilst Janet was part of a wealthy family, her life reflects the experience of so many Women in the 17th century, for who pregnancy was an almost constant condition throughout their adult lives.
There are many amazing Women memorialised at Greyfriars Kirkyard, and many many thousands more who lie here in unmarked graves.
Just one example of an incredible Woman who did so much for other Women & Girls in her time. Mary Erskine was a philanthropic businesswoman & money lender who used her wealth to found two schools and hospitals (think boarding schools) for Maidens.
Mary was born in 1629 and was buried at Greyfriars in an unmarked grave in the Covenanters Prison area in 1707 at the grand age of 78. Mary was a very astute businesswoman at a time when she would have faced many barriers. She must have been exceptionally determined, capable and courageous to have built a successful business and achieved such wealth. And exceptionally generous to use that wealth to found the Merchant Maidens Hospital, a school for the orphaned female children of Edinburgh’s Merchants which is today named after her, The Mary Erskine School, as well as The Trades Maiden Hospital (still existing in the form of the Trades Maiden Fund). This was a school for the orphaned female children of crafts and tradesmen.
Her modern memorial at Greyfriars is shown in this picture.
Here are three examples of Father Time shown on 17th century mural monuments at Greyfriars. This character plays a fascinating role. Often mistaken for the Grim Reaper, he is actually a far more benign and welcome symbol.
His origins are literally lost in the mists of time, but most think he developed from the Greek God Chronos. To the 17th century mind he symbolises that our time on earth is short and uncertain, such that at any moment our time may run out. So be prepared at all times, by being a good Christian, follow biblical teachings and repent of your sins.
Father Time is there as our guide on the journey from life, to death and onwards to heaven. He is always shown as an elderly bearded male, often with wings, telling us he is an angelic figure, sent by God. His hourglass is there to symbolise time and remind us how precious and finite it is. But what of his scythe ? This is the tool he uses to severe the ties that bind our mortal body to our immortal soul. Once these ties are severed our Soul is released, free to ascend to heaven, where we receive our reward for a good Christian life.