Insofar as the surviving evidence will support any conclusion, it may be said that patrons of ecclesiastical building in the Scottish Lowland areas were largely dependent on England for architectural guidance during much of the 12th and 13th centuries. The unprecedented wave of building activity, which followed on the establishment of an effective network of dioceses and monastic houses under the leadership of the Canmore dynasty, created a need for artistic resources which Scotland was not at first equipped to meet, and it was natural that assistance should be sought in the neighbouring kingdom where the royal family and higher nobility had many connections. Despite a much later tradition that David I, who was the Canmore dynasty's most active patron of the Church, had called workmen from France and Flanders to his foundation of Holyrood (Fowler 1903, 24-5), it would be hard to find anything in the greater buildings erected either for him or for his contemporaries which was not essentially Anglo-Norman in inspiration. That is certainly not to say that Scotland was insulated from European influences. Anglo-Norman architecture itself was a complex synthesis of ideas of Rhenish, Burgundian, Lombard and other origins, and architectural solutions with their roots in eastern France, for example, were to be of great importance in the second half of the 12th century. But the evidence is consistent with the likelihood that the majority of these ideas were imported into Scotland indirectly through the medium of northern England—an area of advanced architectural thought, due to widespread Cistercian settlement, which almost certainly supplied Scotland with many craftsmen—rather than that they resulted from direct contact with mainland Europe. In the course of the 13th century aspects of the design of several of the more important buildings, such as Dunblane and Inchmahome, suggest that some of the masons then working in Scotland were beginning to develop their own attitudes to design, presumably because there was a growing pool of craftsmen of native origin. Nevertheless, it would probably not be an exaggeration to suggest that these attitudes represent regional variants on essentially English themes, rather than anything more distinctive. Certainly, those major operations which were nearing completion when the Wars of Independence brought an almost complete halt to ecclesiastical building, including most notably the choirs of Glasgow, Elgin and Sweetheart, can only be fully understood against the background of English architecture. From much of the century which followed Edward I's intervention in Scottish affairs there are so few firmly documented ecclesiastical buildings that it would be of little value to attempt generalizations for this period. Possibly all that can be said on the scant evidence of works such
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