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This steel engraving of Dunblane Cathedral dates from 1850s. The original artist was Billings, the engraver is Le Keux. The size of the image: 6 1/2 x 8 1/4 overall, including margins: 8 x 10 1/2 inches. 
Additional Information -
In the broad valley which separates the Grampian mountains from the chain of the Ochils, southward by a few miles of the green ramparts of Ardoch, where the Romans have left unperishing memorials of their far-reaching energy and enterprise, there lies a pleasant, sequestered, peaceful village, holding, by courtesy, the title of a cathedral city. A transparent flowing stream, with luxuriously broken ground on either side well-kept gentlemen's houses peeping forth from banks of rich foliage a few irregularly scattered ancient houses, all crowned by the broken walls and the gray tower of the cathedral mark the scene of the old popular song of " Jessie, the Flower of Dunblane." The spot is not much frequented, save by occasional parties from the neighbouring modern watering-place of the Bridge of Allan ; and the traveller by coach between Stirling and Perth, unprepared to meet any celebrated edifice on his route, is often agreeably astonished in passing close beneath these fine ruins. The bishopric is territorially obscure ; and on a spot only some twenty miles from the cathedral of Dunkeld, in the same county, and not forty from the metropolitan see of St Andrews, in the adjoining county, one is not naturally prepared to meet with the vestiges of a third episcopate. The accompanying plate bring the whole edifice before the eye. The lower part of the square tower is Norman, and forms undoubtedly the oldest portion of the whole. This has been continued, at a later time, in the plain pointed early English style ; and, farther up, embrasures and battlements have been supplied, according to a practice pretty common in Scotland, from the castellated architecture of the sixteenth or seventeenth century. The body of the edifice is a fine stately exemplification of the pointed G-othic, exhibiting types of the gradual absorption of the early English into what is generally termed the decorative period. The windows, remarkable for their loftiness, have & rich as well as a dignified effect, arising, not from abundance of sculptured tracery, of which the whole edifice is comparatively free, but from the symmetrical character of the design, in which the quatrefoil and cinquefoll are very successfully introduced. Neither the capitals of the clustered pillars, nor the mouldings on the deep archway of the western door, are flowered, or otherwise adorned. The great west window, in three tall lance-headed compartments, derives a lightness and grace from having outer and inner mullions. The edifice is a simple nave .and choir, without any vestige of a transept. The choir, which has no aisles, is fitted up as the parish church. Its roof has, at first sight, rather the appearance of being modern, as it is not consistent with the original height of the western gable, which projects awkwardly above it. But though thus at variance with the original plan and symmetry of the building, it is of considerable age.
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