Greyfriars traces its origin to the south-west parish of Edinburgh, founded in 1598. In the wake of the Scottish Reformation, the grounds of the abandoned Friary were repurposed as a cemetery, in which the current church was constructed between 1602 and 1620. In 1638, National Covenant was signed in the Kirk. The church was damaged during the Protectorate, when it was used as barracks by troops under Oliver Cromwell. In 1718, an explosion destroyed the church tower. During the reconstruction, the church was partitioned to hold two congregations: Old Greyfriars and New Greyfriars. In 1845, fire ravaged Old Greyfriars. After its reconstruction, the minister, Robert Lee, introduced the first organ and stained glass windows in a Scottish parish church since the Reformation. In 1929, Old and New Greyfriars united and the church was restored as one sanctuary. In the following years, the depopulation of the Old Town saw Greyfriars unite with a number of neighbouring congregations.
The church of Greyfriars is a simple aisled nave of eight bays; the style is Survival Gothic fused with Baroque elements. The church initially consisted of six bays and a west tower. After the explosion of 1718 destroyed the tower, Alexander McGill added two new bays and a Palladian north porch to create one building divided into two churches of four bays each. After it was gutted by fire in 1845, David Cousin rebuilt Old Greyfriars with an open, un-aisled interior. Between 1932 and 1938, the interior and arcades were restored by Henry F. Kerr. Notable features of the church include historic stained glass windows by James Ballantine; the 17th century monument to Margaret, Lady Yester; and an original copy of the National Covenant of 1638.
Since the 18th century, the congregations of Greyfriars have been notable for their missionary work within the parish. This continues to the present day through the church's work with the Grassmarket Community Project and the Greyfriars Charteris Centre. Greyfriars holds weekly Gaelic services, maintaining a tradition of Gaelic worship in Edinburgh that goes back to the beginning of the 18th century.References:
The Church of St Eustace was built between 1532-1632. St Eustace"s is considered a masterpiece of late Gothic architecture. The church’s reputation was strong enough of the time for it to be chosen as the location for a young Louis XIV to receive communion. Mozart also chose the sanctuary as the location for his mother’s funeral. Among those baptised here as children were Richelieu, Jeanne-Antoinette Poisson, future Madame de Pompadour and Molière, who was also married here in the 17th century. The last rites for Anne of Austria, Turenne and Mirabeau were pronounced within its walls. Marie de Gournay is buried there.
The origins of Saint Eustache date back to 13th century. The church became a parish church in 1223, thanks to a man named Jean Alais who achieved this by taxing the baskets of fish sold nearby, as granted by King Philip Augustus. To thank such divine generosity, Alais constructed a chapel dedicated to Sainte-Agnès, a Roman martyr. The construction of the current church began in 1532, the work not being finally completed until 1637. The name of the church refers to Saint Eustace, a Roman general of the second century AD who was burned, along with his family, for converting to Christianity, and it is believed that it was the transfer of a relic of Saint Eustache from the Abbey to Saint-Denis to the Church of Saint Eustache which resulted in its naming. Jeanne Baptiste d"Albert de Luynes was baptised here.
According to tourist literature on-site, during the French Revolution the church, like most churches in Paris, was desecrated, looted, and used for a time as a barn. The church was restored after the Revolution had run its course and remains in use today. Several impressive paintings by Rubens remain in the church today. Each summer, organ concerts commemorate the premieres of Berlioz’s Te Deum and Liszt’s Christus here in 1886.
The church is an example of a Gothic structure clothed in Renaissance detail. The church is relatively short in length at 105m, but its interior is 33.45m high to the vaulting. At the main façade, the left tower has been completed in Renaissance style, while the right tower remains a stump. The front and rear aspects provide a remarkable contrast between the comparatively sober classical front and the exuberant rear, which integrates Gothic forms and organization with Classical details. The L"écoute sculpture by Henri de Miller appears outside the church, to the south. A Keith Haring sculpture stands in a chapel of the church.
The Chapel of the Virgin was built in 1640 and restored from 1801 to 1804. It was inaugurated by Pius VII on the 22nd of December, 1804 when he came to Paris for the coronation of Napoleon. The apse chapel, with a ribbed cul-de-four vault, has at its centre a sculpture of the Virgin and Child of Jean-Baptiste Pigalle that the painter Thomas Couture highlighted by three large paintings.
With 8,000 pipes, the organ is reputed to be the largest pipe organ in France, surpassing the organs of Saint Sulpice and Notre Dame de Paris. The organ originally constructed by P.-A. Ducroquet was powerful enough for the premiere of Hector Berlioz" titanic Te Deum to be performed at St-Eustache in 1855.