Although Reid Memorial Church did not open its doors until January 1935, its roots go back a long way before that: in fact to 1843, the year of The Disruption, when 474 ministers left the established Church of Scotland to form the Free Church.

In the early part of the 19th century, the right to nominate a minister was restricted to patrons, usually the local lairds who owned the land on which churches were built.  In response to growing opposition to patronage, the General Assembly of 1834 passed an act which became known as the “Veto Act” which stated that a patron could not force a minister upon a congregation against its wishes.  In the same year, the congregation of Auchterarder rejected Robert Young, the minister nominated by the Earl of Kinnoul.  When the General Assembly ruled that the Presbytery should proceed according to the Veto Act, Young appealed to the Court of Session, Scotland’s supreme civil court, and in 1838 it ruled that the Veto Act infringed the rights of patrons.  A further appeal in 1839 to the House of Lords also upheld Young’s claim.  Other similar cases followed. By 1843, there was growing resentment among church members over the interference of the civil courts in the affairs of the Church, and the apparent willingness of the Church authorities to accept the rulings of the Court of Session. 

On 18th May 1843, immediately after leading the opening prayers of the General Assembly, which was being held in St Andrew’s Church in George Street, the retiring Moderator, instead of proceeding to the rest of the business, announced that he and many other commissioners were withdrawing from the Establishment in protest against state interference.  They then marched in procession to the Tanfield Hall at Canonmills.  There had been splits within the church before, but this was by far the biggest, and the Disruption had a profound effect on 19th century Scottish life and thought. 

Among those who seceded were both ministers of St Giles’, and one of these, Dr Robert Gordon, became the first minister of the “Free High” congregation which worshipped in the Music Hall until their new building on the Mound was ready in 1852.  As was common among learned men in those days, Dr Gordon’s scholarship was not limited to one branch of knowledge.  Besides being a distinguished preacher, he was well versed in science and actually invented the hygrometer.  He died, however, in 1853 and was succeeded by Dr Robert Rainy, a young man of 27.

Rainy was minister in Huntly and did not wish to leave that town; nor did his congregation wish to lose him.  Six hundred of them signed a petition pleading with him to remain, and the local Presbytery refused to sustain his call to the High Church.  Edinburgh Presbytery, however, appealed to the General Assembly, and it reversed the decision and forced Rainy to move to Edinburgh.  He was minister of the Free High until 1862, and he was followed by other distinguished preachers and scholars.

In 1900, most of the Free Church members joined with the United Presbyterian Church to form the United Free Church, leaving only a small number remaining in the Free Church.  In 1929, most the United Free Church joined with the Church of Scotland. In that year also, a start was made to the building of Reid Memorial Church in memory of William Reid who had been a businessman in the 19th century.

The United Free Church joined with the Church of Scotland in 1929. In that year also, a start was made to the building of Reid Memorial Church in memory of William Reid who had been a businessman in the 19th century.  At the time of the Disruption in 1843, William Reid had been a leading supporter of the minister, Dr Guthrie, who led a large number of the congregation out of the Established Church to form Free St John’s Church. When Mr Reid died in 1889, he left his considerable wealth to his four sons, Robert, William, Thomas and John.  The last surviving son, William Crambe Reid, had inherited almost all the estates of his brothers and, when he died without any heirs on 23rd December 1921, he left all his money for the building of a church in memory of his father, to be gifted to the United Free Church of Scotland.  By the time the building works began, the Union of the Churches had taken place, but there was never any doubt that the reunited Church of Scotland would receive the gift.

Close observers of the memorial tablet in the North Transept will note the obvious alteration of two words.  The original inscription read:

“To the Glory of God and in memory of William Reid was this church built, in the years 1929-1933, in accordance with the last wish of his son, William Crambe Reid, who departed this life 23rd December 1921.”

Three days after the first service in the church, a niece of William Crambe Reid remembered hearing the father express the wish to have the church built; so the plaque was cleverly altered to “his last wish by his son”

The site chosen for the church lay at a point where three important roads met — Blackford Avenue, West Savile Terrace and Charterhall Road.  There was, as yet, no congregation.  The South Side of Edinburgh already had too many churches and, if they had been given a choice, the Church authorities would have preferred to build the church in one of the new housing areas.  However, the terms of the will prevented the choice of any other site, and it looked for a time as if the new church was to become a “white elephant”.  The Trustees continued to erect the building and, as it neared completion, the problem became really acute.

Towards the end of 1932, the Presbytery of Edinburgh decided to solve this problem by transferring the congregation of the neighbouring Fountainhall Church.  However, as The Evening News reported on 24th November 1934:

 “The proposal evoked a good deal of discussion and opposition, and the Assembly of 1933 took the unusual course of reversing the Presbytery’s decision — a course which, although strongly criticised in various quarters, was obviously wise.  A new committee was appointed to go into the question afresh, the Fountainhall Road solution having been ruled out.  Some were for forming a new congregation, others for the transference of another congregation.  The advocates of the latter course have prevailed, and with the decision there will be general agreement. Indeed the decision to transfer the High Church congregation is an eminently wise one.”

The Evening News article continues:

“Many people who are comparatively well versed in church affairs may be pardoned if they do not know where the High Church is, for it forms part of the fine building on the Mound, New College and the Assembly Hall.  It occupies the left-hand wing and, although the passer-by hardly recognises that there is a church there, it is a beautiful building inside.  For a long time past, however, its future has been exercising the authorities.”

Following the First World War, there were big social and economic changes in Edinburgh.  The population was tending to move from the centre of the city to the suburbs and, by 1934, the High Church’s roll had fallen to 369.  Nor was there any prospect of it ever increasing because there was no longer a population within reasonable distance of the Church from whom new members could be drawn, so that the future of the High Church congregation became a matter of grave concern.  At the same time, because of the duplication of buildings following the disruption of 1843, there were now too many churches in the area served by the High Church.  Exploratory talks had been held in January 1934 with Queen Street Church about a possible union of the two congregations but, according to the Kirk Session minute book, “after discussion it appeared that on both sides the prevailing opinion was that a union between the two congregations was not desirable.” (Minutes p.268)

Another factor which affected the final decision was the situation in New College.  It had been founded in 1846 as a college of the Free Church (hence the siting of the Free High within the same precinct), but, following the Union of the Churches in 1929, there was now much closer co-operation between the Faculty of Divinity in the University and New College, and the latter was now playing a larger part in the training of Ministry in Scotland than it had done in the past.  New College Library would be of increasing importance in that training and was urgently in need of expansion.  “More accommodation is required for the magnificent library, one of the finest collections of books in the United Kingdom, if not, indeed, in Europe.  There was therefore a dual reason for the High Church congregation to vacate its place of worship and the provision of a beautiful new church in the suburbs has made a new beginning possible.”  (Evening News, 24th November 1934)

The architect chosen to design Reid Memorial Church was one of the most distinguished in Scotland at the time, Leslie Grahame Thomson, later known as Leslie Grahame Thomson MacDougall (1896-1974).  Reid Memorial Church was his first major commission (1929-3), but he also designed other churches including Fairmilehead Church (1937), Moncur Memorial Church in the Isle of Stronsay (1945-53), Longstone Church (1954) and Christ Church in Oban (1954-57), as well as other important buildings such as the National Bank of Scotland Head Office in Edinburgh (1938-40) and the Caledonian Insurance Offices in Edinburgh (1938-40).  He was a widely experienced and talented architect who was particularly knowledgeable about church symbolism. Besides designing buildings, he also designed furniture and carvings for churches, sculpture, metalwork and stained glass windows; all of which are seen to good effect in Reid Memorial Church.  His firm belief was that “The architect must remember that he is an artist, not merely a practitioner of mechanics.” (Quarterly Journal of the RIAS, February 1955)  He laid out his vision for the building in a brochure presented to those attending the Dedication service on 3rd January 1935.

“The site chosen lies at a point where three important roads meet, Blackford Avenue, West Savile Terrace, and Charterhall Road, on a wedge-shaped piece of ground enclosed by the two former and with its east and west axis lying along the latter.

“In considering the layout of the plan, it was decided, in view of this axial line, to have the church correctly oriented, with the west entrance looking along Charterhall Road and the Chancel lying to the eastward.  The particular shape of the site and the space available indicated that the subsidiary buildings, Hall, Church Officer’s House, Vestries, etc., might be laid out in the form of a Cloister Court.  This was accordingly done.  A pleasant space has thus been formed where those so inclined can find a restful and harmonious place of quiet, set apart from the noise and bustle of traffic, and where, on occasion, an outdoor service could be held.

“Further consideration showed, too, that by means of the Cloister Court there would be assured for all time an adequate supply of light to the east windows of the Chancel — that no neighbouring building, however high, could ever be built near enough to deprive them of that all-important element.

“Around the Cloister Court are grouped the Vestries, Session House, Hall, and the Church Officer’s House.  From the centre of the west side of the court rises the apsidal end of the Chancel, containing the three great windows. At the base of the centre window is a fountain basin, with steps leading up to it, and above it a carved panel in relief; ‘Christ and the woman at the Well of Samaria’, by Alexander Carrick, R.S.A.  High above, the buttresses of the Chancel are crowned by four angel figures by the same sculptor; the carved panel over the Hall door is by him also.

“On the east side of the Court is a loggia which forms a pleasant place of retreat, while its centre arch contains a rostrum whence a speaker can address those assembled in the Court.  The wrought-iron rail of this, together with all the other wrought-iron work in and around the Church, was executed by Thomas Hadden.

“The Court itself, except where paved for walking, is turfed and planted out with almond trees and Italian cypresses.  In years to come, in springtime, the pink blossom of the almonds should form a fine contrast to the dark green of the cypresses, and yet blend well with the stone of which the Church is built.

“In general design, the principal aim was to secure, without unnecessary ornament, that Cathedral-like dignity which is ensured only by a lofty proportion, by that feeling of height and aspiration which indicates the theme running throughout the whole building, namely, that of the Ascension.  Thus the low aisles contrast with the vertical lines of the buttresses and the tall windows of the Nave.  The comparatively low entrance forms an apt foil to the great arched recess of the Western front as well as to the Nave on entering, the low buildings around the Cloister Court emphasise the height of the Great Tower, the Chancel and the lesser tower that flanks it to the south.  (in parenthesis, it is of interest to note that the finial cross on the cupola of the smaller tower was, quite without premeditated design, erected to its position on Good Friday, 1932.)  Again, within the church, the low segmental arches of the aisles, set upon their sturdy octagonal columns, contrast with the slender height of the windows, and thereby emphasise the loftiness of the whole Church.

“The style of architecture adopted, names, a free and modern rendering of Gothic, untrammelled by the restrictions of any particular historical period or locality, lends itself very readily to this, while at the same time producing, in the ever upward trend of its lines (and not necessarily by means of any associative ideas), that devotional atmosphere which is so essential in the House of God.

“In plan, the Church itself consists of a Nave and Chancel, with shallow Transepts, one of which, the South, contains the Font, and the other the Memorial Tablet to the late Mr Reid.  Connected to the North Transept are the Minister’s Vestry and the Session House.  It is interesting to note that the tiles of the fireplace in the latter were specially made in Jerusalem.  From the South Transept a corridor leads to the Choir Vestries and to the Hall, the platform of which is on the same level as the Vestries, so that these can be used as retiring rooms for artistes during concerts and other entertainments."

On entering the Church from the low porches — the rich carving on the oak doors should be noted — the entire length comes into view and the lofty proportion is at once evident.  Flanking the great arch to the Chancel, on either hand, are the Pulpit and the Lectern.  These, together with the Font and the Communion Table, are of stone and have been kept very simple in design.  They are connected to the Chancel proper by wrought-iron rails of diaper pattern, the centre of each panel containing a flower of symbolic import. 

From the pulpit book-board hangs an ornamental fall, the subject of which is St Andrew, embroidered in colours and gold by Miss Gladys Wyllie.  The Lectern has a book-rest of wrought-iron in which the Vine, that great Christian symbol, figures.

The Chancel proper contains the Choir Stalls, Prayer Desks for the Minister and Assistant Minister, the Organ Console (approached by a special entrance for the organist), all of oak and carved with symbolic flowers, figures, and grotesques, and also the Communion Table, of stone and simple design, its sole decoration being a carved panel of the Lamb.

Behind and around the Communion Table are ranged the Ministers’ and Elders’ Stalls, and above them, framed in a richly carved canopy of oak, is a picture of the Last Supper, by William R Lawson.  This picture shows a new conception of the subject, instinct with dramatic force and overflowing with life and with rich, vivid colouring.  The artist has depicted the tense moment of Judas’ dismissal, while out and beyond, the Palestinian night glows in starry wonder.

Above this again rise the three great east windows filled with stained glass.  These, designed in conjunction with the Architect, and executed by James Ballantine, F.S.A Scot., portray the three great events of the Christian Faith, the Nativity, the Crucifixion, and the Ascension.

The left-hand window contains the Nativity.  At the bottom of the window is seen the Annunciation, in the centre is the scene at the Inn of Bethlehem, while overhead the Heavenly Host proclaims to the shepherds on the hillside, out by the Judean village, ‘Glory to God in the Highest and on Earth, peace, good-will toward men.’

The right-hand window, that of the Crucifixion commences with the agony in the Garden.  Above this is seen the approaching band, hard by Absalom’s Pillar, coming to take Jesus. Over this again, above an archway of the Praetorium; to this day remaining, as many believe, and incorporated as the reredos to the altar in the Church of ‘Ecce Homo’ in Jerusalem, stands the suffering Christ, surrounded by the mocking Roman soldiery.  Then comes the Crucifixion, and, on high, the Almighty Father, lovingly, inscrutably, watching, over all.

The centre window has for its principal subject the Ascension. The reason for choosing the Ascension rather than the Crucifixion for the central window was to emphasise the great fact of the risen, living Christ, and not a dead Christ.  It may be said in passing that this idea of the Ascension has permeated the whole design of the Church with its aspiring vertical lines.  The lowest subject of the window, coloured in deep low tones, is the scene outside the tomb, early in the morning of the Resurrection, on the hill behind stand the three stricken crosses.  Then comes, in lighter tone and of a colour which harmonises with the loveliness of the story, the Walk to Emmaus.  Then still lighter in tone, the Appearance of the Lord Jesus to the disciples in Jerusalem, and then in Galilee.  Over this comes the Cloud of Witnesses; ‘above five hundred’ and then the two angels; ‘why stand ye gazing up into the heaven?’ and above all, the figure of the Ascending Christ, gleaming white in purity and holiness, His arm upraised in blessing to all mankind.

It should be noted that the blue of the Nativity window and the purple of the Crucifixion repeat the colours of the lower part of the centre window, thus emphasising still further the great central subject of the design of this Church  —  the Ascending Christ. 
Footnote:  One of remarkable things about the windows, not mentioned in the Architect’s notes, is how the colour effects change in different lights.

The Chancel ceiling, in contrast to that of the Nave, which is a plain coffered barrel vault, is groined and is studded with bosses, carved with all manner of flowers and symbols — the Emblems of the Evangelists, the Instruments of Passion, etc., richly coloured and gilded, as befits the sanctuary.

The Organ is housed in an ample chamber within the tower.  It is thus without the Church proper, giving a feeling of freedom and space that is not usually felt where an organ is placed within the body of the Church.  Ample openings from the organ chamber to Transept and Chancel, unencumbered by any dummy pipes ensure that every shade and variation of the organist’s playing will be fully appreciated all over the Church.  It was built to the specification of Dr Alfred Hollins*, the eminent organist, by Rushworth and Dreaper, Liverpool.

A word as to the materials of which the Church is built.  For the hewn work, Doddington stone was used, while for the face work, Craigmillar stone; rubble used as it came straight from the quarry, in varying tones of pink, fawn, mauve, and white.  For the roof, Caithness slates, in soft tones of russet and green, have been used.  These three elements combine to form a harmonious whole, set off better by the black of the wrought-iron railings and gates.

*It was once said of Hollins that his epitaph should be 'Alfred the Great.' This was true as Alfred Hollins was a remarkable man. Not only was he a distinguished organist and composer but he was an excellent teacher and had a fine ability to help audiences understand the pieces he was playing to them. And he was blind from birth.

There are three Great East Windows.  The subjects are Christ’s Incarnation, His Passion and His Resurrection and Ascension.  The three subjects form a symphony on the continuous process of the Creation, Redemption and Sanctification of Man. The first part is rather joyous and exalted;  the second tragic, with heavy notes in amongst quite solemn passages leading upwards to a mysterious finish;  the third large movement begins solemnly and slowly, gradually getting more mysterious (like Parsifal) with strings, only rising to a finale of exaltation and triumph with trumpets.

The three great east windows, designed and executed by James Ballantyne, FSA (Scot), portray the three great events of the Christian faith  — the Nativity (on the left-hand side), the Crucifixion (on the right-hand side) and the Ascension (in the centre).  The Nativity Window depicts the Annunciation, the Crucifixion or Passion Window depicts the agony and suffering of Christ and the Ascension Window several resurrection scenes and the final ascent of Christ to be with His Father in Heaven

The Nativity Window
Mary appears twice at the bottom of the window, first, standing with head slightly bowed at the appearance of the angel Gabriel, and kneeling as he explains that she is to be the Mother of the Messiah, God’s son, Jesus. 
The Holy Spirit can be seen descending on Mary depicted by the dove.  (The Virgin Birth conceived by the Holy Spirit).
Above this, the nativity scene shows Mary in the centre with the baby Jesus and two of the kings (wise men) with their gifts on her left, and the other king with Joseph on her right.
Immediately above, the shepherds can be seen on their knees, having recovered from their fright, marvelling at the appearance of the angels and the news about the birth of Jesus, the Messiah.  Notice the town of Bethlehem in the distance and the star hovering above.

The Passion Window
The story begins at the foot of the window with Jesus in the Garden of Gethsemane praying earnestly that “the cup of suffering might pass from Him.”  The three sleeping faces of the accompanying disciples can be seen to the right of Jesus and an angel to His left.
The scene quickly moves to the arrest of Jesus (seen in the centre panel above the kneeling Christ) where the crowd, soldiers and pointing figure of Judas Iscariot are depicted.

Above that, can be seen Christ dressed in purple robes, wearing a crown of thorns on his head and holding a reed as a sceptre.  At his feet lies the whip used in the “scourging” while, in the background, the cross is being prepared. On either side are the mocking soldiers.

Central to this window is the Crucifixion of Jesus.  At the foot of the cross, notice the figure of Mary, his mother, and the young disciple, probably John.  (Jesus commended Mary to take care of John.)  Note that each hand and foot is nailed separately. The four nails and the crown of thorns form a carving which can be seen in the Chancel ceiling immediately above the Communion Table.

On either side of the crucified Christ are figures of angels clothed in purple and, above this, “seated on high”, God is depicted as the “Almighty Father, lovingly, inscrutably, watching over all.” 

Notice also, at the four corners of the seated figure of God, the emblems of the Evangelists.  On the right, looking upwards, the winged ox (Sacrifice) of St Luke and, above that, the eagle (Aspiration) of St John.  Similarly, to the left, the winged lion (Courage) of St Mark and, above, the winged man of St Matthew.  All are winged to symbolise their far-reaching travels in spreading the Gospel.
At the top of the window can be seen the Lamb and Banner, symbolising Victory over Death.  This can also be seen on the front of the Communion Table, carved into the stone. 

The Ascension Window
The great central window emphasises the risen, living Christ, ascending and reigning in glory.  Notice the lighter colours of this window which become increasingly lighter and climax in the brilliant white of purity and holiness of the ascending figure of Christ.
The resurrection scene at the foot of the window shows the first appearance of the risen Christ to Mary Magdalene, when Mary came in the early morning to the garden tomb.  Notice the three crosses in the background.

As our eyes move upwards, we can see Jesus, unrecognised, walking and talking with two of his followers as they made their way home to Emmaeus. Only when they sit down to eat together do they suddenly realise that the stranger is the risen Jesus.

Other appearances of the risen Jesus are depicted in the “Upper Rom” and by the shores of Galilee.  Note the fishing boat in the background behind two of the disciples, about half-way up on the left-hand side.
The great culmination of the story builds up in a crescendo of light as Jesus, robed in brilliant white, ascends to reign in glory, his arms held up in blessing to all mankind, while the disciples kneel in awe and wonder.

On the inside of one of the pillars supporting the Chancel Arch there is a framed board in which the following critique appears (author unknown, but they could be the artist’s notes):

“The colour plays the most important note in the contemplation of the windows, beginning with the cold clear blues of the Annunciation, right through the blues and yellows to the touch of reddish-purple at the extreme top of the left window. This reddish-purple is carried intensified to the foot of the right window — the Agony. With variations it rises to the more ethereal effect of the enthroned Mysterious Godhead, with the Holy Spirit, forming The Trinity — the Holy Spirit binding us to the Son and the Son being our approach to the Father.

“The purple of the Passion Window is repeated again at the foot of the Central Window, gradually blending into pale blue through shades of mystic green (in the Christ in the Upper Room). From green the colour gets warmer with golden and rose-pinks going almost white and cool again.

“A more strident note is picked up again in two great hovering Angels in rose. The centre tracery is the climax of the Triptych. It contains a brilliant white Figure of the Ascending Christ with arms outstretched.  His drapery having a branching form of lead-work suggests the Tree of Life. On either side are two small adoring Angels in shapes of tracery. The vivid pitch of rose-red is the Grand Finale to the ever-changing pageant of colour. That red is the loudest colour-note in the three Windows.

“In each subject the Figures gain immensely in a decorative and monumental effect by subordinating the surroundings of grass, sea, foliage, trees, etc. in both pattern and colour. They just form a background to the figures. The Figures thereby have more importance.

“THE NATIVITY Window (on the left-hand side), especially the Adoration scene, is very suggestive as a Nocturne in Glass.  The flickering sunset yellows of the nimbi of the Angels, etc. act as a foil to the prevailing blue. 

“The City of Bethlehem, on which the sharp greenish ray of the Star shines, seems to shimmer, mirage-like, in mid-air.  In fact, all the figures in this window seem to soar in this celestial starry blue background.

“There is a strange contrast of effect between the earthly part of the window and the angelic obtained by the change of dark on light and light on dark. The angels are like sharp tongues of yellow-white flame, tapering upward to the phosphorescent shades of greenish-blue and finishing in a vivid dash of reddish-purple.  The old glass-artists were never able to obtain such a suggestion of rushing movement as there is in the upper part of this Window.

“THE PASSION Window (on the right-hand side) is totally different in its impression. There is a slow moving solemnity, only accentuated by the tumult of the Crowd in the Gethsemane scene, and the Tragedy is made more poignant by the mockery of the Soldiers in the next panel.

“The resigned, restful poise of the ridiculed CHRIST gains enormously by the sharp conflicting lines of the Cross and the arms of the Soldiers pointing towards Him.

“The design is built solidly on the arch of the bottom subject. The sharp tongues of flame in this Window, being hotter in colour, are more of torment than the spiritual flickering of the Blue Window.

“The Head and Figure are not idealised, but full of sorrow and sadness.

“The severe upright lines of The Crucifixion and Angels on either side give a suggestion of repose, in contrast to the scenes of Agony and Hatred below (i.e. Gethsemane and the Scourging). The green of the Cross and brilliant gold of the Figure give almost a feeling of re-awakening Life.

“There is a very subtle and beautiful effect of shadow thrown across parts of the background in this part of the window, as if it were a sun shadow pressing over the glass.

“The two upright and central features of this Window are each surrounded by an aureole of colour. An effective breadth of design gives isolation to both Figures.

“The Christ Crucified has a similarity to the one at Poitiers, because of its simplicity of treatment.

“While these two Windows are very definite in colour and design, THE ASCENSION Window (centre window) is much more mystic in its subtleties of colouring.  The eye is led upwards through what one feels more spiritual experiences.  —  The Appearances of the Risen Lord and Crowning His Victory over Death by the Ascension, the Completion, the fulfilment of the whole purpose of His work.

“Through all the subjects a flood of light is streaming down each Window, shedding a glamour over the colour.  Mounting upwards the Figures become more unearthly, until the worshipping row of figures — the Cloud of Witnesses, beneath the Angels, appears as a vision.

“In these Figures one cannot help again thinking of old glass. There is perhaps an affinity to the Apostle figures in The Ascension Window at Le Mans.  And then a fierce vibrating double note of rose-red is felt right down the Window.  These two Figures are the key to the Central Window, connecting and dominating the three windows and the whole Church.

“The Windows are strongly mediaeval in appearance, partly because of the intricate mosaic of lead-work, which is such a feature in any 13th Century Glass. They are, however, also very modern in spirit.  Colour has been used for its significance and to help to tell the story. And for example the Figure of Christ in Gethsemane is almost “cubist” in the building up of colour to express form. Figures are expressed more by colour and leaded form than by the use of paint. Paint is applied as a texture on the glass to diffuse the light, not to exclude it.

“In no part of the three Windows is there any mass of unrelieved colour which would destroy the rhythm of the whole effect. Small shapes of light flicker throughout the colour passages, so helping the illusion of movement, and at the same time taking away any suggestion of solidity. Each subject is subordinated to take its place in the symphonic effect of the whole. Though, while merging with gradual colour changes into each other, every incident depicted, on a closer study, is a quite complete expression in harmony of colour and design.”

The Carvings

One of the distinctive features of Reid Memorial Church is its elaborate wood carvings, which are to be found throughout the Church.  All of this work was carried out by four or five craftsmen employed in the workshops of Scott Morton. 

The internal doors, which are carved in solid oak, are particular beautiful. The more you study them, the more you see.  They have a common theme in their design, based on Gothic tracery interwoven with stylised leaf, floral and fruit designs together with birds and animals, all of which have symbolic meaning.

The symbolism of the plants and fruits:

Rose - Victory, Pride and Love  Thistle - Sorrow and Sin
Lily - Purity     Daisy - Innocence
Clover  -The Trinity    Strawberry - Righteousness
Wheat  - Bounty of the Earth   Pomegranate - Hope and Fertility
Cherry - Sweetness    Fig - Lust and Fertility
Olive - Peace     Thorn - Grief and Sin 
Apple - Evil and Sin    Ivy - Fidelity
Passion Flower - Suffering    Violet - Humility
Vine and Grape  - Relationship between God and Man through Christ
Oak and Acorn - Steadfastness and the Seed of Faith

The animal symbols:

Rabbit - Hope     Bird-  Winged Soul
Winged Lion - Courage    Eagle - Aspiration
Swan - Grace     Dog - Fidelity
Dove - Peace     Reptile - Satan and Evil
Peacock - Immortality    Ram - Strength
Pelican - Self-sacrifice    Phoenix - Resurrection
Winged Ox - Sacrifice    Lamb and Banner - Victory over Death
Frog - Plague and Pestilence   Weasel - Cruelty
Snail - Sloth     Stag - Piety and Aspiration

Other symbols:

Ship - The Church    Lamp - Wisdom and Piety
Cross - Christ    Star - Divine Guidance
Heart - Understanding and Love  Rainbow - Promise and Hope
Crown - Victory and Distinction  Anchor and Rope - Salvation or Hope and Steadfastness

The Internal Doors of the Church

The West Savile (North) Entrance:

(a) The doors inside the North Porch:

Door No. 1 As you enter through the main North door from West Savile Terrace, you will see on the door straight ahead of you the Parable of the Prodigal Son (St Luke, Chapter 15).  It shows the son with the swine and then being welcomed back by his father.  Note the calves peeping over the wattle fence.  The symbol of Salvation (Anchor and Rope) is depicted on the shield above the door.

Door no. 2 The door on your left into the North Aisle shows the Chariot of Fire (2 Kings, Chapter 6).  A host of fiery chariots is sent by God to rescue Elisha, the Prophet, from the host of earthly chariots which the King of Syria has sent to capture him.  In answer to Elisha’s prayer, the Syrians were struck blind.

(b) The reverse side of the doors of the North Porch:

Door No. 3 Above this door there is a shield with the emblem of the Lamb and Banner, symbolising Victory over Death.  The medallion on the left leaf of the door shows Christ the Good Shepherd (St John, Chapter 10) and on the right depicts John the Baptist (St Mark, Chapter 1)

Door No. 4 Above the door leading from the Porch into the North Aisle, you will see Daniel in the Lions’ Den (Daniel, Chapter 6).  Two birds are woven into the tracery on the doors.
 

The Blackford Avenue (South) Entrance:

(a) The doors inside the Blackford Avenue Porch:

Door No. 13 On this door, there are medallions illustrating two scenes from the Flood (Genesis, Chapters 6-8).  One depicts the building of the Ark, the other the Ark framed in the Rainbow (Promise and Hope).  Note the two fish (the ancient Christian symbol) peeping out of the waves near the Ark.  Over the door, two angels support a shield which shows a Cross (symbolising Christianity) surmounted by a Crown (Victory and Distinction).

Door No. 14 On the door leading from the Blackford Avenue Porch into the South Aisle, there is a bird with a worm in its beak and an ermine (depicting Purity).  The medallion above the door shows the familiar story of Jacob sleeping at the foot of a ladder, down which an angel is descending from Heaven (Genesis, Chapter 28).

(b) The reverse side of the doors of the South Porch:

Door No. 11 As you leave by the door beside the pigeonholes, take a moment to examine the Nativity scene described in Luke’s Gospel, Chapter 2, and the Flight into Egypt of Mary and Joseph with the Baby Jesus (St Matthew, Chapter 2).  The shield above the door, surmounted by a Crown (Victory and Distinction), shows a Peacock which symbolises, not Vanity, but Immortality.

Door No. 12 Among the tracery on the door leading from the South Aisle into the Blackford Avenue Porch, there is a bird (Winged Soul) on one side and a reptile (Satan and Evil) on the other.  The medallion above the door illustrates the story of the two spies who returned to Moses and the children of Israel and reported to them the dangers of invading Canaan in their search for the Promised Land (Book of Numbers, Chapter 13).  Between them they carry a massive bunch of grapes.

One of the distinctive features of Reid Memorial Church is its elaborate wood carvings, which are to be found throughout the Church.  All of this work was carried out by four or five craftsmen employed in the workshops of Scott Morton. 

The internal doors, which are carved in solid oak, are particular beautiful. The more you study them, the more you see.  They have a common theme in their design, based on Gothic tracery interwoven with stylised leaf, floral and fruit designs together with birds and animals, all of which have symbolic meaning.

The Internal Doors of the Church

The West Entrance:

(a) Three doors lead from the Church into the West Porch:

Door No. 5 The centre door shows on its medallion an entangled ram (symbolising strength) and a rescuing shepherd.  Over the door, on the shield, is the symbol of the Church of Scotland; the Burning but Living Bush (Exodus, Chapter 3).

Door No. 6 The tracery on the door to the left of the centre door contains a frog (symbolising Plague and Pestilence) and a bird (Winged Soul), and in the medallion above the door is a kneeling angel holds lilies (Purity).

Door No. 7 The door to the right is similar to that on the left, but it includes what is possibly a weasel (Cruelty) and a snail (Sloth) whose shell merges almost unseen into the tracery.  On the medallion above the door is a cherub’s head.

(b) The doors inside the West Porch:

Door No. 8 The centre door carries medallions depicting the Sowing of the seed and the Gathering of the Harvest (St John, Chapter4). The shield with the supporting angels carries the Blessing or Welcoming Hands from Above and the Dove of Peace.

Door Nos. 9 and 10 The tracery on the doors on either side of the centre door contains lilies and birds.  There is a cherub in the medallion above one door, and a kneeling Angel in the medallion above the other.
 

Other Carvings

Throughout the Church, on all the carved oak doors, aisle ceilings and choir stalls there are paterae (A circular ornament, resembling a dish, often worked in relief on friezes, and the like)  some small, some large,  Each has its own unique design, is hand-carved in solid oak and is based on leaf, floral, fruit and grotesque animal subjects.

An area which rivals the doors in the intricacy of its carvings is the woodwork surrounding the painting of The Last Supper behind the Communion Table.   The picture is flanked by a carving of a Pelican (Self-sacrifice) on the left and a Phoenix (Resurrection) on the right, each of them supported by kneeling angels in prayer, together with scrolls and intricate floral carvings.

Beneath the painting the emblems of the four Evangelists are carved — the winged man of St Matthew, the winged lion (Courage) of St Mark, the winged ox (Sacrifice) of St Luke, and the eagle (Aspiration) of St John, all winged to symbolise their far reaching travels to spread the Gospel.  These match the emblems in the ceiling.  Set in the midst of these emblems is a cross, standing on a mound delicately carved with scattered violets (Humility).  (Note the rabbit, symbolising Hope, emerging from its burrow.)  The emblems are flanked on either side with floral carvings and feature, in the right hand panel, the Passion Flower, which inspired the design of the new Pulpit Fall that was installed to mark the Church’s 50th Anniversary.  The Passion Flower can also be seen in Doors 11 and 13.

The whole reredos is canopied with a pierced cornice which filters the colours of the stained glass windows behind it.  In the centre is a shield, on which is carved a Chalice or Communion Cup — all supported by Angels and surmounted by a Crown.

The stalls for the Elders are ranged in appropriate simplicity, six on either side.  On the front of the Choir Stalls are carvings of various flowers and plants while on the ends of these are carvings of a thistle, fruit, ears of corn and a sunflower.

The ends of the front pew all have beautiful floral designs, and on the front panels are carved fourteen pierced vignettes, incorporating a stag (Piety and Aspiration), a ram (Strength), a dog (Fidelity), rabbits (Hope), a swan (Grace), and a swan feeding cygnets, all interspersed with floral and grotesque patterns.

Finally, on the front of the stone Communion Table is carved the Lamb and the Banner symbolising Victory over Death.

Some External Features

There are many external features which merit more than a casual glance.

The Outside Doors

North Porch 

Above the outside doorway leading from West Savile Terrace into the North Porch, there is a shield bearing two intertwined Greek letters  —  ? (pronounced like “high” and the equivalent of the English letters “ch”, as in loch) and ? (pronounced like “row” and the equivalent of the English letter “r”.  The letters XP are the first two letters of the Greek word for “Christ” — ??????? (Christos).  At the top of the buttresses on either side of the doorway there are smaller shields which carry the Dove of Peace and the Chalice of Christ’s Blood.  The doors themselves are carved with floral tracery, and this is echoed in the segmented spandrel above the door which features a carved Cherub medallion.  Around the frame of the door are numerous paterae, similar to those which abound within the Sanctuary.

South Porch

The entrance to the South Porch is very similar to that of the North Porch except that the emblems on the shields on the buttresses depict the Greek letters A (Alpha) and ? (Omega) — “the First and the Last” or “the Beginning and the End” (Revelation, Chapter 21).  Another difference is that the dominant shield above the doorway depicts the Star and Heart, symbolizing Divine Guidance and Understanding.

The West Front and Porch

As befits its importance, the West Front and Porch dominate the vista from Charterhall Road like a monumental gateway, with its low segmental arched doorway and the dramatic, deeply recessed West Window.  Seen from a distance, the door itself appears relatively insignificant, but it is given added emphasis as you approach the entrance gateway and descend into the sunken courtyard.  The impact of the window then diminishes from view as you descend the flight of steps, pass through the low doorway and shadowed cave-like porch and suddenly emerge into the brilliant cathedral-like interior.  [Unfortunately, due to the door’s exposure to the prevailing west wind, this experience cannot often be enjoyed.  The entrance’s use is limited to special occasions like weddings.]

The sliding doors of the West Door are framed in a margin which contains larger floral paterae interspersed with grotesques, a pelican, a griffin and a flower with facial characteristics, a touch of humour introduced by the carver, as often happened among Gothic craftsmen.  In the upper spandrels of the doors, the Vine and Grape predominate, while the six panels have interwoven into their Gothic tracery the floral motifs of the Rose (Victory, Pride and Love), the Thistle (Sorrow and Sin), the Lily (Purity) and Clover (The Trinity), together with two others.  These could be interpreted as the four national emblems i.e. the rose, the thistle, the leek and the shamrock.

The best view of the doorway and its surrounding details can be had from the steps of the West Gate.  Angel figures, holding primitive organ-like instruments, crouch on either side of the deep lintel with its simple stone tracery over the deep-moulded segmental arch.  In the centre of the lintel, there is a Crown and Shield bearing the Greek letters ??? (iota, eta, sigma, equivalent to the English letters “i”, “e” and “s”).  These are the first three letters of the Greek word for Jesus - ?????? (“Iesous” - there was no letter “J” in the Greek alphabet)

Over this shield is a more flower-like Cross flanked by two Dolphins (symbolizing Resurrection and Salvation).  On the extreme outer corners of the main buttresses, at a slightly lower level, lion-headed gargoyle-like grotesques nestle in the corners.  Surmounting all, at the apex of the gable, is a more traditional cruciform-shaped window.

The Cloister Courtyard

This sheltered retreat gives access to the Vestry, Session Room, Choir Vestries and the original Small Hall.  The Kitchen was not part of the original plans, and the Large Hall was added in 1961, while the ramps were a much later addition (2003) to meet the new legislation on Disabled Access.

Stone Carving and Sculpture

All the stone carvings and sculpture in and around the Church were the work of Alexander Carrick, RSA.

The most beautiful must be the panel over the stone basin under the East Window, which depicts “The Woman at the Well of Samaria” (St John, Chapter 4).  The attentive and absorbed features of the figures, old and young, seem to draw the beholder in to become one of Christ’s audience.

Separating the stained glass windows are four great buttresses, each surmounted by an angel holding a musical instrument.   The angel on the extreme right holds a horn or trumpet, that to the right of the Ascension Window a harp, the one to the left of that window a lute, and the one on the extreme left a set of bagpipes!  It is said that the artist had difficulty in representing the instrument requested in his brief, which evolved “shapeless like a haggis” and eventually emerged as bagpipes.  When challenged that angels never played bagpipes, he is said to have retorted, “How do you know angels play harps?”

Beyond the angel with bagpipes, and up above roof level, is an octagonal small tower, which is purely an architectural feature.  As the artist says in the official Brochure printed for the Dedication of the Church, “It is of interest to note that the finial cross on the cupola of the smaller tower was, quite without premeditated design, erected to its position on Good Friday, 1932.”

The Wrought Iron Work

Thomas Hadden, a supreme craftsman of that era, was responsible for all the wrought iron smith-work.

West Gate:  A Vine and Grape theme is woven into the design of the West Gate.

Entrance to the Cloister Courtyard:  The iron gateway and the screen walls round the Cloister are enriched with scroll work depicting Roses (Victory, Pride and Love), Vines and Grapes (Relationship between God and Man through Christ), Apples (symbol of Evil and Sin), Oaks (Endurance of Faith) and Ivy (Fidelity).  The Rose and the Vine and Grape also feature in the Loggia with its Pulpit or Rostrum.

to be continued