are two ambries, one of which contains the initials of Duncan Menzies and his wife, Jean Leslie, sister of the Earl of Rothes, who were married in 1623. And on the other occur the initials D. M.
There are several interesting grave slabs in the church, but the most remarkable feature is the monument shown in Fig. 1612, which stands against the north wall near the east end, as indicated on the Plan. It is an important example of Scottish Renaissance work, and contains a great amount of detail, much of it very elaborate.
The sixteenth or seventeenth century monuments in Scotland may be divided into two classes, viz.:—First, the class represented by the Montgomery monument at Largs,[1] and the seventeenth century monument in Seton Church, which are almost pure Italian, with very little of the previous Gothic manner, and almost nothing of local or Scottish feeling. Monuments of this class may probably be the design, if not the work, of foreign hands. In the second class are the monuments which seem to
 | An image should appear at this position in the text. To use the entire page scan as a placeholder, edit this page and replace "{{missing image}}" with "{{raw image|The ecclesiastical architecture of Scotland ( Volume 3).djvu/640}}". Otherwise, if you are able to provide the image then please do so. For guidance, see Wikisource:Image guidelines and Help:Adding images. |  |
Fig. 1611.—Weem Church. Plan.
owe their design and execution to native skill, and amongst these may be included this monument at Weem. The structure measures about 13 feet in length at the base, and has a projection from the wall of about 2 feet.
The general scheme of the design is of an ordinary form, consisting of an arched recess above a dado or pedestal, which is divided into three panels separated from each other by delicate tapering shafts. At each side rises a half round engaged shaft to carry the moulded arch above. These shafts have capitals, rudely carved with oak leaves, supporting square abaci. Above the arch there is a level cornice slightly broken at intervals over figures beneath. At each side of the monument a large figure stands on a finely designed pedestal, the one representing Faith and the other Charity. The former holds a book with the inscription, Quidquid fit sine Fide est peccatum, while the figure of Charity is represented in the usual typical manner. The figures are surmounted with very beautiful
- ↑ See The Castellated and Domestic Architecture of Scotland, Vol. V. p. 193.
