Page:The castellated and domestic architecture of Scotland from the twelfth to the eighteenth century (1887) - Volume 2.djvu/581

 CONCLUSION 565 FOURTH PERIOD The present proprietor of the estate is John More Nisbett, Esq. of Cairnhill and Drum, whom we have to thank for the use of the plans, from which Figs. 977 and 978 are copied, and for much kind assistance otherwise. CONCLUSION TO FOURTH PERIOD. As pointed out in the Introduction to this Period it is a transitional one, and there is some difficulty in drawing a line where the Scottish style ends and the Classic begins. These styles are more or less inter- mixed throughout the whole period. At the beginning the Scottish style prevails, but is gradually encroached on by the Renaissance and Elizabethan, which at length completely supersede it; only to be in their turn soon supplanted by the purer Classic. From buildings such as Wintoun House, Drumlanrig Castle, and Caroline Park the transition is easy to Drum House, the south front of Holyrood Palace, and numerous completely Classical works designed by Sir William Bruce in the reign of Charles n. In following the history of our Scottish Architecture we have had comparatively few opportunities of remarking on the internal features of the buildings. In nearly all the earlier examples there is scarcely any internal architecture; nothing remains but the bare walls. Almost all the examples of internal design which have been preserved to us are of the latest style included in our survey. These consist of wainscot panelling on the walls, Classic or Renaissance fireplaces, elaborate piaster- work on the ceilings, and other details, all of the Renaissance period, and scarcely differing from those which prevailed at the same time in the other countries of Europe. The internal finishings of the earlier buildings were no doubt simple and rude, so that it was in this depart- ment that the contrast with the highly finished mansions of England was most apparent. Scotsmen naturally became better acquainted with the sister country after the removal of James vi. to London, and the comfort and luxury of the English mansions must have impressed them with the feeling that that was the direction in which their houses at home were most deficient, and in which improvement was most called for. It thus happened that in order to remedy these defects the new Renaissance style came first and chiefly into request in connection with internal fittings and decorations, and it made good use of the opportunity thus afforded to it, almost all the interior work of the seventeenth century being in that style. Hence the curious mixture of external Scottish combined with internal Renaissance design which is presented by the houses of the period. This circumstance however gives a certain: