These images serve to illustrate the development of the memorials over time. It also shows the extravagance of the memorials raised in 1610’s to the 1630’s – no doubt due to the prosperity of that period, which is a marked contrast to the relative paucity of memorials raised between 1640 and 1667 – no doubt due to War, Plague, Occupation and Economic Depression in Edinburgh during those decades.
The date order is based mostly on the year of first death, except for Hope where the death was 150 years before the memorial and Little where the death was 100 years before the memorial.
1606: John Jackson1610: George Heriot1610: Rae1612: Dobie1614: Naysmith1614: Laing1615: Gilbert Primrose1615: Morrison1616: Miller1617: Harlay1619: Bishop Coupar1626: Dennistoun1629: Byres of Coates1633: Foulis1635: Bannatyne1636: Henryson1641: Trotter1644: Akinhead1646: Alexander Henderson1646: Sir Thomas Hope (although memorial dates to 1800’s)1649: Murray1656: Provist TodUnknownUnknown1667: Mylne1667: Douglas (Hatter)1672: Bethune1674: Kinloch1675: Chalmers1676: Borthwick1676: Cunninghame1679: Kincaid 1679: Chiesley1681: Bayne1681: Carstares (Oswald)1683: Little1686: Sharp1686: Robertson1688: McCulloch 1691: Mackenzie
Today this memorial is mounted on the north wall of the Kirk, but it wasn’t originally in this position. When Thomas Robertson died in 1686 “his most mournful wife and children erected this monument”. The memorial was created by Robert Mylne, the most famed & skill Master Mason to the Crown. They had it affixed to the West Wall of the original (Old) Greyfriars Kirk, in a prominent position for all to admire. When the New Greyfriars Kirk was added to the west end of the old Kirk, this memorial found itself hidden from view in the internal space between the old and new structures. This space was subsequently used as the coal cellar, meaning this marvellous memorial suffered the indignity of being hidden and covered in coal dust. When the dividing walls between the Old & New Kirk were finally removed in the 20th century, this monument was liberated and mounted in its current position where everyone can see it again. The inscription ends with the motto “Virtue survives the Grave”. Perhaps a footnote might be added saying “This Monument survived the Coal Cellar”.
A classic Robert Mylne design in which the central panel is made up of drapes, held up in the mouth of a beast.This small foliate face (aka Green Man) is on the monument.A winged spirit underneathFlanking the left side of the monument is a large Angel holding a skull on their knee (Angels have no gender).On the right side the flanking Angel holds the scales of judgement. Note the all seeing eye of god depicted in the centre of the swirl to the left.
John Byres of Coates memorial at Greyfriars was carved by the Master Mason to The Crown, William Wallace in 1630/31. It is an outstanding example of the grand mural monuments that very wealthy families of Edinburgh commissioned in the period from 1625 – 1637, including Dennistoun, Henryson, Foulis & Bannatyne. Wallace died in 1631 so this was one of his last works, indeed the records of his estate show the debt for the work performed here was unpaid at the date of his death. William Ayton was Wallace’s successor as Master Mason to the Crown and he took on the task of producing these hugely elaborate monuments after 1631. Both Wallace & Ayton were responsible for much of the building of Heriot’s Hospital, a neighbour to Greyfriars, in the late 1620’s, 1630’s & early 1640’s. Ayton died in 1643.
John Byres was a successful money lender & landlord in the prosperous years of James VI’s reign. He lived on the High Street before he bought the Coates estates (the land just north of Haymarket Station in Edinburgh) and built a huge house with his wealth (that still stands today). John chose to commission the finest craftsman to create the most elaborate memorial, unmatched by anything that went before it. The design chosen is rich in complex symbolism which requires a lot of careful consideration to piece the whole meaning together.
We are presented with a figure sitting on a Cornucopia with their back against a pillar, reaching out towards a winged figure standing on a sphere. Is that a book in their lap ? Death figures flanks the scene, carrying their darts & a burial shroud. A crumbling Tower refers to the Tower of Babel which speaks of man’s inability to reach heaven before they are called by God to do so. The cornucopia is a horn of plenty, overflowing with foods, fruits & flowers. There are arrangements of baskets of fruits, flowers & foliage all around the scene.
The overall message appears to be that death will arrive to take us, only then the righteous will be able to reach heaven above to enjoy the bountiful abundance provided by God. The figure sitting in the cornucopia with their back against a pillar, a book on their lap and reaching outwards. Is this John, or is it a heavenly figure waiting to judge or greet his soul ? Is the pillar a symbol of a steadfast faith & fortitude. Is the cornucopia symbolising a rich & bountiful life, or the promise of such in the afterlife. We could read this scene in several different ways and quite possibly that was the intention.
Today the monument is somewhat reduced by having lost its huge finial and the carving rather decayed. But the old photo gives a sense of just how grand this would have been.
