Tranent Parish Church And Burial-Ground

Tranent Parish Church, dating to 1799 and designed by John Simpson, incorporates remnants of a medieval church. The building was significantly altered and reconfigured internally in 1953 by Leslie Grahame Thomson. The church is situated on a sloping site that falls to the north and west and is constructed from roughly squared and coursed rubble sandstone, with raised ashlar margins and quoins.

The east elevation features a two-stage, square tower attached to the centre of the gabled north elevation. A plain-margined window is located at ground level to the east, while paired semi-circular stair windows are set to the north and south. A band course runs where the church eaves meet the tower. The upper stage of the tower is characterised by oculi (round windows) to the north, south, and east, with louvred lancets above. A cornice and crenellated parapet with angle pinnacles top the tower. Single-storey, piend-roofed porches, added in the early 19th century to the north and by Leslie Grahame Thomson in 1953 to the south, flank the front of the church, with a door in the south porch. Irregularly placed windows are arranged in the gable above the nave.

The west elevation displays evidence of former windows, with a Venetian window with a polished ashlar surround inserted in 1953. A keystoned oculus is present in the gablehead, and a ball finial crowns the structure. A wall to the right is framed by a consoled, moulded surround bearing a much-weathered inscription.

The south elevation is symmetrical, featuring four round-arched, keystoned windows with impost blocks. A square recess at ground level, appearing to be a medieval bee-bole, has roll-moulded jambs.

The north elevation includes two set-off buttresses on the right, which are medieval fragments, flanked on the left by blocked windows. Three round-arched windows, mirroring the detailing of the south elevation, are present to the left, with a mortuary aisle adjoined below the central and left windows. A further blocked window is situated at the outer left.

The burial enclosure, a surviving portion of the medieval church, serves as a family burial ground for the Cadells of Cockenzie. The enclosure is enclosed by curtain walls with harl-pointing, sections of ashlar coping, and decorative wrought-iron railings. A blocked round arched two-light window with chamfered reveals is also visible. Various wall monuments are within the enclosure, including an ornate Baroque armourial monument commemorating Andrew Barclay and his wife, Katherine Cooper.

The church’s windows are sash windows with small-pane glazing patterns in decorative arrangements, notably within the round arched windows. Grey slates cover the roof, with ashlar coped skews and crenellations.

The interior was reordered by Leslie Grahame Thomson in 1953, with the removal of galleries. A shallow, depressed arch vault spans the space, with white painted walls and ceiling, the lower chancel to the west being painted blue. Circular ventilation grilles are incorporated. The church has a single aisle, three pedimented oak doorcases, and simple oak furnishings including pews. Wrought-iron sanctuary lamps are present, along with stained glass in the Venetian window by Margaret Chilton, Marjorie Kemp, and John Blyth (1953), and an S window by William Wilson (1966). A timber stair leads up to the tower.

The graveyard is enclosed by rubble walls with substantial buttresses to the north and a terraced wall, with some rubble and ashlar coping. Wrought- and cast-iron gates provide access, flanked by droved ashlar gatepiers to the southeast. Numerous fine monuments are located within the graveyard, dating from the 15th and 16th centuries, with the majority being from the 18th and 19th centuries. Outstanding table and wall monuments, and gravestones, feature memento mori and Baroque details. 15th and 16th century gravestones are also present.