The Provand's Lordship of Glasgow is a medieval historic house museum located at the top of Castle Street. It was built as part of St Nicholas's Hospital by Andrew Muirhead, Bishop of Glasgow in 1471. A western extension, designed by William Bryson, was completed in 1670.

In the early 19th century the house was occupied by a canon supported by income from the Lord of the Prebend (or 'Provand') of Barlanark. Later that century it was acquired by the Morton Family who used it as a sweet shop. Following a generous donation Sir William Burrell, in the form of cash as well a collection of seventeenth-century Scottish furniture in the late 1920s, the house was bought by the specially-formed Provand's Lordship Society, whose aim was to protect it. In 1978, the building was acquired by the City of Glasgow who restored it. It was reopened to the public in 1983, and, following further restoration work which lasted two years, re-opened again in 2000.

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Founded: 1471
Category: Museums in United Kingdom

More Information

en.wikipedia.org

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4.5/5 (based on Google user reviews)

User Reviews

Aravind S (5 months ago)
Really Nice place..
David Wilson (10 months ago)
Very interesting. I originally come from the city of Glasgow and have made an effort to visit as many Glasgow museum type sites. The history told in the details and pictures available is amazing.
ムジブMariner (12 months ago)
It's a fine experience to visit this museum. One will be wondering how a house build during the medieval era still standing strong. For the structure build during the 1400's it's quite remarkable restoration work that has been carried out. Worth a visit. The highlight is the kids area on top floor .
rajeesh r (2 years ago)
A must visit place. I was exploring the tourist attraction and initially didn't notice this building. Stepping into the room will give you feel of traveling back to history. The architecture and the wood work is worth giving attention.
Susan Andrew (2 years ago)
A totally fascinating place. More than almost anywhere else I've been, Provand's Lordship really gives you a sense of what it would have been like to have been living here, hundreds of years ago. So atmospheric, and not 'sanitised' - those floors are uneven and the stairs are slightly scary, which is great: I hate when everything is cleaned up and pretty. Highly recommended.
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Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

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The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.