g of the Word,"
and its seal emblems have been thus interpreted: "The employment of
these four emblems (fish, bird, tree, bell) in connection with St.
Kentigern was meant to convey that he was sent as a fisher of men, that
his work from small beginnings grew to very large dimensions, 'like to
a grain of mustard-seed, ... which is the least indeed of all seeds, but
when it is grown up ... becometh a tree, so that the birds of the air
come and dwell in the branches thereof'; and that his name and fame
became so great that he was heard of everywhere. 'Verily their sound
hath gone forth into all the earth, and their words unto the ends of the
whole world.'"[87]

The most beautiful features of the exterior are pronounced to be the
doorways, especially those of the lower church,[88] the vaulting of
which was said by Sir Gilbert Scott to contain nowhere two compartments
in juxtaposition which are alike.[89] It has been suggested that the
motive of the architect was to reproduce, as nearly as circumstances
permitted, the plan of Solomon's Temple, and the arrangement corresponds
exactly.[90] The beauty of the lower church is much obscured by the dark
stained glass in the windows, and it is matter for regret that this
masterpiece of design and wonderful variety of effect[91] are not more
visible.

"The plan of the cathedral," says Mr. Honeyman, "is remarkably compact,
and the exterior is symmetrical and harmonious. The best points of view
are from the north-east and the south-east. From either of these points
the full height of the structure is seen, and that is sufficiently great
to give the building a dignified and impressive effect, the height from
the ground-level to the apex of the choir gable being 115 feet. The
well-proportioned short transept breaks the monotony of the long
clerestory, without unduly hiding it, as transepts with more projections
do. The gable of the choir, with its four lancets, rises picturesquely
over the double eastern aisles, while the sombre keep-like mass of the
chapter-house adds a romantic element to the effect of the whole
composition, which culminates gracefully in the lofty spire. The
pervading characteristic is simplicity, and the effect solemnising. Sir
Walter Scott, with his usual quick perception of _character_ in
buildings, as well as in man, puts an admirable reference to these
salient points into the mouth of Andrew Fairservice, who exclaims, 'Ah!
it's a brave kirk; nane o' yer whigmal