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Download Download Proc Antiqc So Scot, (1991)1 12 , 455-472 The Rhind Lectures 1990-91: a synopsis The Revival of Medieval and Early Renaissance architecture in Scotland, 1745-1930 David M Walker* LECTURE 1 ORIGIN E GOTHIE TH TH F SO C REVIVAL ARCHITECTURE TH : D MI F EO GEORGIAN FANTASY, 1745-1820 It could be said that in Scotland the gothic tradition never quite died. The plate traceried windows of Dairsie Kirk (1621), the Y-traceried windows of Balcarres Chapel (1635), the interlaced r tracerWilliaSi f o ym Bruce's churc t Laudea h r (1673) f Jameo , s Smith's mausoleu t mDurrisdeea s firsa r t built f Michae(1695o d an ) l Kirk, Gordonstoun (1705), carried the gothic tradition through the 17th century and into the 18th. gothie Th c revival t leas a castellated e r th to , , reviva Scotlann li d muc o aross t heno fro m the embere 16t th d 17t hf an o sh century gothi t rathebu c - reve n thoug t wouli h d have happened in any event - from Sir John Vanbrugh's four-year acquaintance with castellated architectur s grandesit n i ed severes an t t for t Vincennema e Bastilleth d an s , which found echoes in the castellated Vanbrugh family houses at Greenwich. Dukd Whe3r f Argyle eo nth l succeede 1744n di inheritancs ,hi havy ema e includeda schem castellatea r efo d house simila outlin n i rexecutee th o et d castle which Vanbrugd hha prepared for the 2nd Duke, although it is now less certain that the inscription on the drawing ca trustede nb . Anothe Duked r2n schem e Vaubanesqua , th r efo e fort with Kentian detaiy b l engineee th r Dugald Campbell, provide executee fosse th th f idee er o d th afo d e castleth t bu , 3rd Duke's choic f architeceo t felRogen o l rfinished Morriha o ds wh Vanbrugh's Eastbury, e pla th f tha o ns t wa anhous t i d e whic s adaptewa h r Inverarayfo d . Eastbury's baroque elevations were redesigned in a gothic manner which derived from the tower James Gibbs had Duke'e builth r fo ts brothe t Whittonra frod man , such house Willias sa m Kent's remodelling of Esher (1733) and perhaps even Batty Langley's book, Gothic Architecture Improved of 1742. Inveraray was the first truly great gothic country house to be built completely anew, althoug firse th t t majohno r gothic revival building, that honour being take Hawksmoor'y nb s All Souls College, Oxford, of 1716-35. The Duke's executant architects at Inveraray were John and Robert Adam. The style, though not the plan, found echoes at the brothers' unfinished Douglas Castle of 1757-61 and at * Historic Scotland, 20 Brandon Street, Edinburgh 6 45 SOCIET ANTIQUARIEF YO SCOTLANDF SO , 1991 their collaborator James Nisbet's Twizell Castle, just across the border in 1771, the latter havin bole gth d machicolated parapets which characterized Robert Adam's later castles. Contemporary with Twizell was John Baxter and Abraham Roumieux's rebuilding of Gordon Castle, severe Gibbsian baroque with castellated parapets. Adam himself experi- mented wit fancifue hth l employegothid ha e ch t Alnwicda k Castl 1770-8n ei 0 only brieflt ya the fafade of Yester Chapel in Scotland, preferring for country house work an Italian inspired castellated which nevertheless has some Scottish references, particularly to James V's tower at Holyroodhouse and, perhapsn ruineow s d hi castl, t Dowhilla e s earlieHi . r essays were, however, more tentative: Mellerstain (c 1770-8), a finely proportioned composition of severe rectangular masses with Tudor hoodmoulds; Wedderburn (1771-5), which has more classical references in its rusticated ground floor but in its bow and towers anticipates the bold geometry of the later castles; and Caldwell (1773), again classical with crenellations and pepperpots f theso t e Ou gre. e brillianwth t geometrical plannin f Culzeago n (begun 1777), Dalquharran (1786), Seton (1789 Airthred )an y (1791 whicn )i detailinge hth , some quatrefoils at Culzean excepted, was severely neo-classical. Some gothic detailing appeared in late works which were probably more James than Robert, at St George's Chapel, Edinburgh, and Stobs Castle (1793) similan I . r vein were Alexander Stevens' Raehills (1786) the' arcaded basement terrac f whiceo h anticipates tha t Culzeana t Bridg(1787)n d an ,Du f eo . Rather simila stylen i r ,wore thoug th plan n Jamef i s ko t wa ,h no s Playfai t Kinnaira r d (remodelling, 1785 Melvilld )an e (1786Alexandef o d )an r Lain t Darnawaga y (1802). Robert Adam's former assistants, John Paterso Richard nan d Crichton, adhered more closele th o yt styl f theio e r master e formeth , t Monzia r c 1795( e ) Eglinton (1798 probabld an ) y Fasque e latte(1809th t Rossid a r an ) c 1800e( probabld )an y Gelsto 1805)c n( , mos f theo t m with adaptation f Adao s m plan forms l thesAl . e house classicad sha l interiors: onl t Playfair'ya s Farnell Church (1789) and Crichton's Craig Church (1799), both with plaster rib vaults, was significant gothic interior work attempted. All this was in marked contrast to English work of the same period, Horace Walpole's Strawberry Hill having attempted gothic interiors as early as 1753 while convincing neo-Perpendicular work had been achieved at Pomfret Castle, Arlington Street, London t Arbura d an earl,s ya s 175ya 176d 6an 5 respectively. The Inveraray-inspired plan-type reappeared at Elliot's Taymouth (1806 onwards) and Newbyth (1817) t Jame;a s Gillespi eoriginas Graham'hi (1820e n i Le d l e proposal)an sTh r sfo Duninald t Williaa d an m; Burn's reconstructio f Saltouo n n (1818) l wital , h elaborate neo-Gothic interior work. While Saltoun derived more directly fro r RobermSi t Smirke's Lowther and neo-classical Kinmount, what had brought the Inveraray model back into the consciousness of architects, nobility and gentry alike had been the new palace at Kew, designe Jamey db s Wyat 1802n i t . Al f thes o lEnglisd ha e h Tudor gothic detail, Burn's Saltou Gillespid nan e Graham's proposal Duninalr sfo d reflectin increasee gth d repertoir detaif eo l availabl publishen ei d form by the second decade of the 19th century. In 1802 the London architect George Saunders produce dprecocioua s schem remodellinr efo largeld gan y rebuilding Scone Palac 17te th hn ei century idio d been whicmi ha nt i h built n exercisa , e perhaps suggeste e tactfuth y b dl neo-Jacobean work whic d bee e ha hmodernizatio nth carrien i t ou d f mano n y English Elizabethan and Jacobean houses. In the event the Earl of Mansfield paid off Saunders and employed William Atkinson, a pupil of James Wyatt, to transform the old palace into an up-to-date English Tudor gothi firss hi teithec s n larg o pile wa b t Borderre I .jo sidth f eo d an , unlike its predecessor, it was asymmetrical, enabling the house to be much more logically planned with the principal and private apartments en suite in an L-plan arrangement, privacy THE RHIND LECTURES 1990-97 45 | 1 from callers and servants alike being particularly carefully considered. The interiors were modelle mentor's hi n do s Fonthill, albei muca n to h smaller scale. Similarly indebte Wyatto dt , on this occasion perhaps mor Sheffielo et dRossis hi Park s e wa ,Prior y (1807) with spirelets borrowed from Peterborough Cathedral. Almost parallel with these were Richard Crichton's conversion from Adam castellated to Tudor gothic at Abercairny Abbey of c 1805, similarly asymmetrica t witbu lh rather more literate perpendicula re Londo detailth d an n, architect James Sands' partly executed scheme r remodellinsfo g Torrie House (1813). John Hash's picturesque e Richarcastleth n o s d Payne Knight model found Scottish echoe Londoe th n si n architect Robert Lugar's Tullichewan (1808 Ballocd )an h (1809n i d an ) an important series of rather similar houses by James Gillespie Graham at Culdees (1809), Cambusnethan (1816), Kilmaron (c 1820), the executed design for Duninald (1823) and the much large mord an r e varied Duns (1818) which incorporate substantiada l earlier house. In church design the sophistication achieved at Farnell and Craig remained unique until the second decade of the new century. In the county parishes and even in the larger towns, 'heritors' gothic' with timber Y-traceried and astragalled windows remained the norm. Some, like Forfar, combined gothic windows with Gibbsian spires but a few of the larger churches, such as John Paterson's St Paul's Perth (1806) attempted more interesting plan forms than the ubiquitous rectangle containing a U-plan gallery. LECTURE2 SERIOUS GOTHIC REVIVALISM E ENGLISTH : H NEO-TUDOR, NEO- JACOBEAN AND SCOTS BARONIAL MOVEMENTS: THE REVIVAL OF 'SAXON' OR NEO-NORMAN; AND THE INFLUENCE OF SIR WALTER SCOTT, 1814-40 In the second decade of the 19th century, expectations of architectural scholarship greatly increased a tren, de directlb whic n ca hy linke o Joht d n Britton's Architectural Antiquities published from 1805 onwards, a book which found a place in most country house librarie enabled san d client wels s a architect s a l bettee b o st r informed plates It . s gave ready acces gothio st thay c twa detai Francia n i l s Grose's plate notd resulted sha an , Englisn di h gothic d particularlan , y Tudor gothic, rather tha e nativnth e gothic which might have been directly observed, becomin s universaga Englandn i s Scotlann i l wa t i .
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