Wigtown Parish Church

The origins of Wigtown Parish Church stretch back centuries, although they are shrouded in mystery. Evidence suggests a church existed on the site as early as the medieval period, dedicated to an obscure Welsh saint, Machutus. Historical records show the church belonged to the Priory of Whithorn, a significant religious center in the region. Over time, Wigtown Parish Church transitioned into a "free rectory", with the King as its patron.

The 18th century witnessed significant changes for Wigtown Parish Church. The original structure, deemed "an old mean-looking edifice", was deemed inadequate by the growing population. In 1730, the church was rebuilt on the foundations of the older church, and this Georgian-style church, still visible as a ruin in the church grounds, reflected a more formal and classical aesthetic.

By the mid-19th century, even the 1730 structure felt outdated. The burgeoning town demanded a church that reflected its growing stature. In 1851, a new chapter unfolded. London architect Henry Roberts designed a new church adjacent to the existing one. This neo-Georgian structure, constructed from granite, stands as the current embodiment of Wigtown Parish Church.

The church's design embodies the Georgian T-plan, with a distinctive French pavilion roof adorning the tower. Stepping inside, the large nave and east transept create a sense of grandeur. Renovations in 1914 by P MacGregor Chalmers further enhanced the interior. A new communion table, font, and an organ chamber were added, along with a rearrangement of the seating to better accommodate the congregation.

Wigtown Parish Church unveils its history through its architectural details. The intricately carved stones in the transept offer a glimpse into the region's early Christian heritage. One such stone is a Celtic cross shaft adorned with interlaced rings, reminiscent of those found at Whithorn Priory. This is thought to date from the tenth century.

Beyond the stones, the stained glass window in the east transept serves as a vibrant narrative. This masterpiece, created by James Ballantine & Son in 1867, depicts a biblical scene, adding a touch of colour and artistry to the interior space.

Wigtown's status as Scotland's National Book Town intertwines with the life of the church. Throughout the year, the church hall transforms into a haven for bibliophiles. The Wigtown Book Festival utilises the church hall for author talks, book signings and literary discussions. Throughout the year, smaller book sales and events also find a home within the church walls, further solidifying the church's connection to the town's literary identity.

As you might expect, the church also has a link to the Wigtown Martyrs. Within the churchyard there are two upright gravestones stones dedicated to Margaret Lachlan and William Johnston, John Milroy, and George Walker who were hanged around the same time, along with a single table tomb dedicated to Margaret Wilson. The table tomb is inscribed with the following words;

Here lyes Margaret Wilson doughter to Gilbert Wilson

in Glenvernoch who was dround annno 1685 aged 18

Let earth and stone still witness beare

their lyes a virgine martyre here

murther'd for ouning christ supreame

head of His church and no more crime

but not abjuring presbytry

and her not owning prelacy

they her condem'd by unjust law

of heaven nor hell they stood no aw.

Within the sea ty'd to a stake

She suffered for Christ Jesus sake

the actors of this cruel crime

was Lagg, Strachan, Winram, and Grahame

neither young yeares nor yet old age

could stop the fury of there rage.

While one of the gravestones is inscribed;

Here lyes William Johnston John Milroy

George Walker who was without

sentence of law hanged by Major Wynram

for their adherence to Scotland's Reformation

Covenants National and Solemn Leagwe 1685

A simple wooden cross on the wall of the Nave was also erected on the 300th anniversary of their deaths in 1985. If you look closely you will see that the two hands on the cross are symbolically bound with rope.