page_title: Architecture of Scotland in the Industrial Revolution
section_title: Gothic revival
hierarchical_section_title: Architecture of Scotland in the Industrial Revolution / Late nineteenth century / Gothic revival
context_page_description: Architecture of Scotland in the Industrial Revolution includes all building in Scotland between the mid-eighteenth century and the end of the nineteenth century. During this period, the country underwent an economic and social transformation as a result of industrialisation, which was reflected in new architectural forms, techniques and scale of building. In the second half of the eighteenth century, Edinburgh was the focus of a classically inspired building boom that reflected the growing wealth and confidence of the capital. Housing often took the form of horizontally divided tenement flats. Some of the leading European architects during this period were Scottish, including Robert Adam and William Chambers.
  While urban centres were rebuilt in local materials, including Aberdeen in granite and Glasgow in red sandstone, the homes of the rural poor remained basic, particularly in the Highlands. In the cities they were confined to the sprawl of suburban tenements like those of the Gorbals in Glasgow. One response to growing population was the creation of planned new towns, like those at Inverary and New Lanark.
context_section_description: Some of the earliest evidence of a revival in Gothic architecture is from Scotland. Inveraray Castle, constructed from 1746 with design input from William Adam, displays the incorporation of turrets. These were largely conventional Palladian style houses that incorporated some external features of the Scots Baronial style.
  Robert Adam's houses in this style include Mellerstain and Wedderburn in Berwickshire and Seton House in East Lothian, but it is most clearly seen at Culzean Castle, Ayrshire, remodelled by Adam from 1777. Common features borrowed from sixteenth- and seventeenth-century houses included battlemented gateways, crow-stepped gables, pointed turrets and machicolations.
  Important for the adoption of the style in the early nineteenth century was Abbotsford House, the residence the novelist and poet, Sir Walter Scott. Rebuilt for him from 1816, it became a model for the modern revival of the Baronial style. Edward Blore (1787–1879), Edward Calvert (c. 1847–1914) and Robert Stodart Lorimer (1864–1929) and in urban contexts, including the building of Cockburn Street in Edinburgh (from the 1850s) as well as the National Wallace Monument at Stirling (1859–69). Important for the dissemination of the style was Robert Billings' (1813-74)   multi-volume Baronial and Ecclesiastical Antiquities of Scotland (1848-52). The rebuilding of Balmoral Castle as a baronial palace and its adoption as a royal retreat from 1855 to 1858 confirmed the popularity of the style.
  In ecclesiastical architecture, a style with more in common to that in England was adopted, based on late Medieval models, often using arched windows, stained glass and carvings. Important figures included Frederick Thomas Pilkington (1832–98), who developed a new style of church building which accorded with the fashionable High Gothic. He adapted it for the worship needs of the Free Church of Scotland, as at Barclay Viewforth Church, Edinburgh (1862–64). Robert Rowand Anderson (1834–1921), who trained in the office of George Gilbert Scott in London before returning to Edinburgh, worked mainly on small churches in the 'First Pointed' (or Early English) style that is characteristic of Scott's former assistants. By 1880 his practice was designing some of the most prestigious public and private buildings in Scotland, such as  the Scottish National Portrait Gallery; the Dome of Old College, Medical Faculty and McEwan Hall, University of Edinburgh; the Central Hotel at Glasgow Central station, the Catholic Apostolic Church in Edinburgh and Mount Stuart House on the Isle of Bute.
caption: Abbotsford House, re-built for Walter Scott, helping to launch the Scots Baronial revival.
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