History & Theory of Architectural Conservation

Conserving Borthwick Castle: 15th Century Tower House Turned 5-Star Hotel

Fig 0.1: Watercolour of Borthwick Castle, 1818.

T T I S H N T R E

T H E S C O

C

FOR

E

CONSERVATION STUDIES

Edinburgh College of Art MSc Architectural Conservation AC2 History and Theory of Conservation Course Organiser & Tutor: Miles Glendinning

Kathleen Cooper S1832590 10 April, 2019

Fig 0.2: Aerial view of Borthwick Castle

Table of Contents

I. Introduction

Site and Context General Characteristics

Why Build Borthwick?

Political and Social History

6

II. Interventions and Phases

a. Initial Phase: 1430-1440

b. Phase 2: Late 19th C Intervention

c. Phase 3: Early 20th C Restoration

d. Phase 4: 1973 Transformation

14

III. Latest Renovation

24

IV.

31

Conclusion

V. Bibliography

32

VI. List of Figures

33

I. Introduction

Fig 1.1: Map of Borthwick Castle in Midlothian

Site and Context Borthwick Castle is a 15th century tower house located in Midlothian, Scotland, approximately twelve miles southeast of the capital city of Edinburgh. The castle was built between 1430 and 1440 by Sir William de Borthwick and comprises a double-blocked tower with surrounding gate and several cottages unattached to the main body. The two towers, one on the north corner and one on the south, make up the western portion of the castle, while a large main section comprises the rest of the structure. The former estate is currently privately owned and operates as a five-star boutique hotel, with ten bedchambers available for rent. Guests cannot rent a single room in the hotel, but rather book the entire castle for occasions.

Weddings, business events, and private parties are the most frequent occasions for bookings, however, some families choose to rent the castle for holidays or short weekends away.1

1 As explained by Kieran Rose, Front of House Manager for Borthwick Castle.

6

Edinburgh

Borthwick Castle

Fig 1.2: Map of Borthwick Castle in relation to Edinburgh and surrounding Midlothian. Produced by author.

7

Fig 1.3: General plan of Borthwick Castle

General Characteristics Approached now by a recreated stone bridge instead of its original 15th century drawbridge, the A-listed castle has withstood the test of time - nearly six hundred years - due to the thickness of its walls and ingenuity of its construction. At its base, the tower’s walls measure fifteen feet thick, and taper off to nearly eight feet thick at the highest level. Overall, the castle stands a proud one hundred feet tall and measures seventy-four feet long by sixty-eight feet wide. Around 30,000 tons of masonry make up this colossal structure, 12,000 of which are locally quarried ashlar from the banks of nearby Middleton Burn.2 Interestingly, over sixty mason marks have been found on the stonework within the castle.3 As previously mentioned, the castle now operates as a luxurious five-star hotel. Storage now dominates the space of the old dungeons below the kitchens and Great Hall. The ten bedchambers are named after famous historical figures with ties to the building, including names such as: Mary Queen of Scots, the Earl of Bothwell, Sir Walter Scott, Oliver Cromwell, the Knights Templar, and of course, Lord Borthwick. The position of the Great Hall, State Room and Garrison of the main tower block remain unchanged, as does much of the original layout. The main forms of circulation are still the two stone turnpikes, one at the northeast corner of the main block, and one at the northeast corner of the south block on the west facade (see Fig 1.4). Several treads have been individually replaced, but otherwise they remain in original condition.

An oblong dovecot, probably of the 17th century, would have projected from the south east angle of the curtain wall, along with a tower mid way along the south wall. Stables and outbuilding might have occupied the north section of the courtyard.4 2 Kieran Rose, “Borthwick Castle History.”

3 Chris Tabraham, Scotland’s Castles (London: B T Batsford, 2005), 74.

4 “Borthwick Castle, Including Outer Walls and GatehouseLB805,” Historic Environment Scotland, accessed April 1, 2019, http://portal.historicenvironment.scot/ designation/LB805

8

Fig 1.4: Section perspective of Borthwick Castle noting current bedchambers, gathering spaces and circulation

9

Why Build Borthwick?

The tower house was built in 1430 by Sir William de Borthwick after he was granted a charter by King James I of Scotland.5 The king was abducted and held in French Court as prisoner by England’s ruler, King Henry IV, when James was just a child. In 1424, James was released in exchange for the imprisonment of several of his loyal men. William Borthwick was chosen, as both his father and grandfather had served under the Scottish crown as ambassadors to the English court. William’s ancestor was also a knight who participated in the expedition that attempted the delivery of Robert the Bruce’s heart to Granada (which of course was a failure). These important ties meant that William Borthwick was loyal enough to the Scottish crown that he would serve as one of the hostages in place of King James. Upon these men’s release, they were each granted a legal charter to build an estate for their families, to be paid for by the Chancellor of the Exchequer.6 During the early 15th century, Scotland was a target for the English, as they were on opposing sides of the great Papal Schism of 1378-1417.7 This meant that Scottish buildings (mostly religious, but others as well) were subject to damage from attacks. Additionally, during the time of the castle’s construction, King James I was leading armies against the English in Scotland, giving (presumably exaggerated) accounts of battles between hundreds of thousands of English soldiers and humble Scottish bands.8 While these stories have been exaggerated by the king, one thing was certain: gunpowder artillery had entered the battlefield and was an immediate threat to the built environment across Europe. Borthwick sought to build a structure that would be nearly impenetrable and stand tall through any attempted attack. The height of the castle was carefully considered: it is tall enough to send and receive signals from neighboring fortifications, yet not so large that it dominates the landscape and stands out too obviously.

The site Borthwick selected was a wise choice: previously known as the Mote of Locherwart, the land slopes downward on three sides, two of which lead down to the Gore Stream. Only the west facade was vulnerable, and that is where Lord Borthwick had two square towers constructed, immediately adjacent to the castle’s main body, to protect the posterior Great Hall.

5 Rose, “Borthwick Castle History.”

6 Idem.

7 Miles Glendinning and Aonghus MacKechnie, Scottish Architecture (London: Thames & Hudson, 2004), 45.

8 Tabraham, Scotland’s Castles, 66.

10

Fig 1.5: Painting of Borthwick Castle by Robert Gibb, 1831

Fig 1.6: Current view of Borthwick’s entry

11

Fig 1.7: Sketch of eastern facade, 1834

Fig 1.8: Present day view of eastern facade 12

Political & Social History After serving its initial duties as a grand tower house built for a lord, Borthwick saw several important figures enter and flee from its grounds. Perhaps the most famous of the tower’s guests is Mary Queen of Scots, who sought refuge in the castle with her husband, the Earl of Bothwell, after he murdered her previous husband, Lord Darnley. They fled Holyrood Palace in Edinburgh, and were invited by the sixth Baron to stay at the fortress before fleeing yet again, upon receiving word that a thousand-man army was headed to capture them. An excerpt from a letter addressed to the Archbishop of Glasgow reveals, “June 11th, 1567. The Lordis came suddenly to Borthwick; Bothwell fled to Dunbar, and the Lordis retyred to Edinbrough. She followed Bothwell to Dunbar, disguised...”9. It is believed that Mary fled through a window of the Great Hall, disguised as a man and frantic to rejoin Bothwell.

In 1650, Borthwick Castle was visited by Oliver Cromwell and his army, eager to confront the ninth Baron of Borthwick for sending armies against him.10 Cromwell threatened the Baron, giving him a fortnight to surrender the castle or face the wrath of his canon fire. John, the Baron, sure of his fortress’s strength, refused Cromwell’s demands, and was thus met with cannon blows on the eastern wall (see Fig 1.6). The damage is still apparent today, but poses no threat to the structural integrity of the building. After fifteen days, Cromwell took over the fortress and emptied it of everything John had left behind.

The castle, now without proper ownership, passed to the Dalrymples family, then to the Mitchelson family of Middleton before its century-and-a-half abandonment.11 In 1812, it fell back into Borthwick hands via John Borthwick of Crookston, who proved his descent to Sir William de Borthwick. While the title was reinstated, it died out again in 1910.

During the Second World War, the castle operated as a safe storage unit for valuables such as irreplaceable documents and manuscripts from the National Library of Scotland, artefacts and treasures from the National Museum of Scotland, plus 2,300 volumes of records from about one thousand parishes across Scotland.12 9 “History of Borthwick Castle,” Exclusive Use Venue for Corporate Meetings & Events, Private Family Vacations & Celebrations, accessed March 15, 2019, https://www.borthwickcastle.com/history.html 10 Rose, “Borthwick Castle History.”

11 Idem.

12 Idem.

13

II. Phases of Interventions

Initial Phase: 1430-1440 Even though Sir William de Borthwick was a second-tier rank, he built a castle fit for a top-tier nobleman, meaning he was fiercely determined to show the crown his worth.13 At the time of its construction, Borthwick Castle was the largest and highest quality tower house in all of Scotland.14 Today, it remains as possibly the most complete and intact model of a 15th century Scottish stronghold. Unusual to the norm of this period, Borthwick chose to hold his entire accommodation under one roof, rather than spread across several buildings like other noblemen were accustomed to. Also unlike other noblemen, Borthwick opted for a more simplistic design with three distinct volumes comprising the fortification. Most other large tower houses of this era went with more complex layouts, however, houses such as Hermitage and Crookston took similar approaches to Borthwick.

One outstanding feature of Borthwick is the system of vaults. The Great Hall boasts a thirty-three foothigh pointed vault, and stacked parallel to this is another, almost equally tall, rounded vault. Below the hall lie three large vaulted chambers, perpendicular to the main body. These spaces served as dungeons during the castle’s period as a military fortification. The windows of the lower levels were placed higher than usual, as the castle was built to be defended from the roof. With this setup, intruders would have to be incredibly close to the castle to cause any real damage, meaning those on the roof could drop things on them from above. Originally, a parapet would have existed for soldiers to walk around the enceinte, but it is no longer.

Similarly, a drawbridge would have guided visitors onto the grounds, to a Guard Room, then Screen Room, then finally the Great Hall. This sequence was effective in that besiegers who entered by force would have had to enter the Guard Room via a stone turnpike, placing them at the center of the fully armed room.15 13 Tabraham, Scotland’s Castles, 72.

14 Idem..

15 Rose, “Borthwick Castle History.”

14

Fig 2.1: Exploded axon of original Borthwick Castle

15

Fig 2.2: Buffet in Great Hall, post-early 20th C renovation

16

Fig 2.3: Buffet as it appears in 2019

Fig 2.4: Chapel in State Room, post-early 20th C renovation

Fig 2.5: Chapel as it appears in 2019

Originally, the castle would have been a vibrantly colourful space in its interior, complete with tapestries and frescoes. In the Great Hall, a trace of a fresco reading “ye tempil of honour” can still be seen on the northwestern portion of the vaulted ceiling. A similar, yet much fainter and nearly incomprehensible trace lies on the northeastern quadrant, believed to read “ye tempil of virtue.” The carved stonework would also have been painted. The piscina in the chapel of the State Room and buffet of the Great Hall are examples of special places that would have displayed elaborate paintings and Gothic tracery (the piscina is a stone basin usually holding holy water, and the buffet is a recessed area near the fireplace, typically holding high quality silver and porcelain goods).16

16 R. W. Billings, The baronial and ecclesiastical antiquities of Scotland (Edinburgh: T. N. Foulis, 1909), 47.

17

Fig 2.6: Engraving showing ruined fireplace in the Great Hall

Fig 2.7: Engraving by Robert William Billings showing restored fireplace; note the inconsistency in stone and variety of masons’ marks.

Fig 2.8: Drawing from 1844, showing the state of the Gatehouse and its walls before its first restoration

18

Fig 2.9: Drawing of interior view of Gatehouse

Phase 2: Late 19th Century Intervention As previously mentioned, the castle was disused from shortly after Cromwell’s attempted destruction in 1650 up until 1812, when John Borthwick of Crookston had the tower reinstated with his family’s name.

Empty and abandoned, the stone structure stood waiting for the Borthwicks to reclaim it in the early 19th century. During this period, the structure remained relatively unchanged, and in a state of near dilapidation.

The castle saw its first renovation beginning in 1890, when John Watherson and Sons restored the Gatehouse on the southwestern corner, along with all the stone walls surrounding the property (see Fig 2.8-9). The archway in the entry sequence had to be adjusted to accommodate modern modes of transportation, which proved slightly larger than those previously used. The military staircase in the northeastern corner of the main body of the castle was also replaced. The minstrel’s gallery was entirely replaced with new timber. A tree had grown through the Great Hall’s fireplace in its state of disrepair, dislodging some of the stonework, which had to be replaced (see Fig 2.6-7). The restored fireplace shows many mason marks, as do the three cornered tops of the doorways into the hall.

The Gatehouse was the most significant alteration to the property during this renovation, as its walls were thinned from the interior to reflect the lessened danger of attacks. The main incentive for this intensive restoration was the idea that the space held the potential to become a luxurious living space, which, while it has suffered less-than-fit uses between the 1890s and now, has been the space’s primary function through 2019.

19

Fig 2.10: Armorial shield depicting the date “1913”

Fig 2.11: Great Hall, post early-20th C restoration

Phase 3: Early 20th Century Restoration 1913 saw the castle’s most extensive restoration in its 500 years so far. The owner at this time, Henry Borthwick of Crookston, carried out thorough renovations of much of the castle. All the timber was replaced again, as much of it had been looted and sold by a previous tenant. It is unclear whether or not the fireplace was restored during the 1892 or the 1913 renovation works, or even before the 1890s. An engraving by R. W. Billings (Fig 2.7) depicts an accurate restoration of the fireplace, however, Billings passed away before the turn of the 20th century, and his book, The Baronial and Ecclesiastical Antiquities of Scotland, was published in 1909 (still before the 1913 renovation). Many books and articles, some even published by Borthwick Castle Hotel management, acknowledge the date of its restoration to be 1913.17 The engraving in question shows the castle to be in disuse, as evident by the general state of the hall and the presence of wildlife. According to a statistical account by Reverend Thomas Wright (given in the late 19th century), a “colony of jackdaws” and “white owls,” along with several rodent species took up residence within the castle.18 A reason for the misunderstanding of the fireplace’s restoration could be the decorative armorial shield set in the pyramidal hood reading “1913” (see Fig 2.10). Other major restorations of this period include enlarging some of the slit windows and repairing the slate and stone roof.

After the castle’s second refurbishment, it was briefly used again as a residence, then, as stated in Chapter I, was used to store some of Scotland’s national valuables during the Second World War. After yet another period of disuse, the castle was finally put to public use, nearly sixty years after its last renovation.

17 Rose, “Borthwick Castle History.”

18 Billings, The baronial and ecclesiastical antiquities of Scotland, 47.

20

Fig 2.12: Elevations and sections, 1929

Fig 2.13: Photo of Borthwick Castle, 1930 21

Fig 2.14-16: The ‘Mary Queen of Scots’ themed hotel room, 1990s

Phase 4: 1973 Transformation In 1973, the 24th Lord Borthwick leased the tower to Helen Bailey. Edinburgh-born Bailey quickly furnished the place and opened up a hotel and conference centre in about two years’ time. Bailey was so affected by the castle, its historical guests and its picturesque landscape that she even wrote a book about her trials and triumphs with the building, entitled My Love Affair with Borthwick Castle.

The extensive refurbishments included furnishing each bedchamber, the three gathering spaces, and the basement, which she turned into a wine cellar (see Fig 2.22). The Garrison, initially used for military purposes, was transformed into a wedding ceremony venue with the addition of seating, adequate lighting, and medieval-themed decorations (see Fig 2.23). Most of her decor selections were based off of her own ideal semi-Gothic Scottish getaway, including many Gothic- or medieval-inspired props and trinkets. Bailey chose to decorate using Scottish tartans, other variants of plaid, and many shades of red, including the wood casegoods. Numerous carpets were added at this time, and also some area rugs. Several windows were replaced, and coats of paint were added to the bedchambers. Central heating and electricity were also updated, but no spatial reconfiguration was needed, save for some partition walls here and there. Bailey wanted her guests to have an “authentic medieval royal experience,” so while basic modern amenities were added, no leisurely updates were made. For example, no televisions, radios, or other forms of technological entertainment were installed anywhere in the castle. This might have achieved the desired effect, but in each bedchamber, the former servants’ quarters were transformed into modern-day restrooms, slightly detracting from the goal of creating an “authentically medieval” space.

In 1975, Bailey’s Hotel won a Civic Trust European architectural heritage award. Seven years later, it was also named one of the top twelve hideaways of the year by US-based travel specialists, Harper Associates.19 While Bailey had a successful run at Borthwick, she and her husband, along with the Borthwick family of Crookston, sold the castle in 1992. The buyers, Dr and Mrs Loadsman, owned the property from 1993 to 2013. The castle was sold again to the current owners, who had envisioned transforming the place into an authentic and tasteful retreat.

19 “Obituary: Helen Bailey,” The Guardian, January 31, 2007, accessed April 1, 2019, https://www.theguardian.com/news/2007/jan/31/obituaries.mainsection

22

Fig 2.17-19: The Great Hall, 1990s

Fig 2.20-21: The State Room & chapel, 1990s

Fig 2.22: Wine cellar in former dungeon , 1990s

Fig 2.23: Garrison as wedding venue, 1990s 23

III. Latest Renovation 2013 Refurbishment In 2013, Borthwick Castle was completely gutted of all the renovation work done exactly one hundred years previously before reopening as a luxury accommodation in 2016. Archaeologists were brought in to inspect the site, but nothing of value was discovered.20 While the stonework was hardly touched (see following figures in this chapter to examine the condition of the stonework, including the piscina, fireplaces and vaults), the entirety of the stone and slate roof was replaced with seventeen tons of lead. Everything from its old plumbing, heating and electricity systems to the flooring materials and kitchen supplies were fully upgraded. Notably, a state-of-the-art off-site biomass heating centre was introduced. All furniture was removed and a completely new, bespoke set was hauled in for this restoration job. Interior designer of the project, Melanie Brown of Design Direction, wanted to create an atmosphere of royal luxury, but cater to the needs and desires of modern society, differing in this way from Bailey’s vision.

On the other hand, Brown decided to keep each room as its original use like Bailey, from every bedchamber to the State Room, even down to the kitchen. With the exception of the Gatehouse, bathrooms, and the conversion of the dungeons into a wine cellar, secondary kitchen and storage, Borthwick’s spatial configuration remains the same today as it did six hundred years ago. Another small distinction is the State Room, which was originally divided into two parts via partition wall to separate the chapel in the south from the sitting room to the north end. The chapel’s piscina and aumbry are still evident today, but are downplayed in a simple seating nook configuration rather than Bailey’s 1970s version with gold paint and religious items adorning the small space.

Brown’s version of Borthwick boasts plush furniture either custom-built or brought in specially and largescale paintings. One such painting hangs in the Great Hall: a copy of a ceiling fresco painted by Guido Reni of Bologna, Italy. The original painting was commissioned for Cardinal Scipio Borghese in Rome and depicts the sun god Apollo in a chariot led by a torch-wielding child.21 While the decision for choosing this specific painting is unclear, it could be a nod to King James I and the 1st Lord Borthwick’s Catholic ties and the frescoes that might have originally adorned the ceilings.

A major upgrade that Brown undertook was the Gatehouse (pictured right, Fig 3.3). The old carpet was replaced with wood-look porcelain planks and topped with vintage area rugs for a warmer feel. Dark wood paneling lines the walls, and recessed cove lighting highlights the architectural details of the ceiling. The two most noteworthy items in the room are the Italian marble roll top bathtub and the bed frame, which 20 As described by Kieran Rose, Front of House Manager.

21 Rose, “Borthwick Castle History.”

24

Fig 3.1-2: Great Hall dressed for dinner

Fig 3.3: The Gatehouse

is an exact replica of King Henry VII and Elizabeth of York’s marital bed from 1486.22 The original bed from which the replica is modeled after was found abandoned in a hotel car park in 2010, and is estimated to be worth twenty million pounds. The back of the headboard reads, “The sting of death is sinne, and the strength of sinne is the law,” and depicts Adam and Eve, which reflected the values of the king and his bride.23 The carpets from the previous renovation were removed, exposing the original stone flooring, and replaced instead with easily movable area rugs. Some floors were treated with a thin poured concrete (reversible) due to the uneven stone floors underneath. Traditional-looking rugs, tapestries, and upholstery were carefully selected to reflect the tower’s late medieval, early Gothic style to create an atmosphere that feels natural and not forced, unlike the 1970s version. Upholstered panels were also added to many rooms to add warmth, softness, and acoustic properties, a modern take on hanging tapestries.

22 “Gatehouse,” Borthwick Castle, accessed April 5, 2019, https://www.borthwickcastle.com/m/gatehouse.html 23 As stated by Borthwick Castle management.

25

While all conservation work thus far has been mostly surface level, it is important to discuss the changes made to the historic fabric with additions such as heating and cooling mechanisms, electricity, modern plumbing, and so on. When running a hotel, the first and foremost considerations should address the comfort and safety of the guests, which means that sacrifices must be made in the way of the historic building fabric. For example, one noticeable addition in the Great Hall and Garrison is a cove lighting system. While medieval-inspired wrought iron chandeliers provide downlighting, the additions of the cove lights provide ample uplighting into each space, highlighting the stonework of the vaults. The lights are adjustable according to what color or temperature the occasion calls for.

While the lights and other modern amenities have all been updated, one typical update has been left out of the Borthwick renovation: fire systems. Because the building has existed for more than one hundred years, no fire alarms or sprinklers exist within the castle, because the stone walls and fire-rated doors are enough to keep a fire under control for the regulated amount of time. A main concern is the State Room, which is full of tapestries, upholstery, wooden furniture and decor, and a piano. Management was unable to give confirmation on whether or not the fabrics chosen for the panels, furniture and tapestries are fire-rated.

A major issue with the latest renovation of Borthwick is the lack of universal access. While some countries’ national building codes require all commercial buildings to be universally accessible, like the US, Scotland has no such codes for privately-owned historic buildings that lie within conservation areas, which Borthwick does. DDA codes (Disability Discrimination Act of 1995 and 2005) note that while it is important for buildings to be universally accessible, and new builds should generally comply with these standards, historic buildings may be exempt from such codes when these alterations are “inconvenient”24 to add and detract significantly from the building’s historic integrity. In Borthwick’s case, guests with wheelchairs, crutches, walkers, or other disabilities, plus families with prams might have an especially difficult time navigating the property. The Gatehouse and main rooms of the castle are all only accessible via outdoor staircases, and once inside the main tower, the only two forms of vertical circulation are the two stone turnpikes. No lift exists or was considered. Several of the guest rooms are also only accessible via small stone turnpikes of just a few stairs, which is still fairly difficult for those with disabilities or other access issues to navigate.

Today, the hotel is used for private-hire events, meaning guests cannot simply book one room within the hotel, but must rent the entire property, which holds twenty-eight guests. The most popular occasions are weddings and corporate retreats, while some wealthy families rent the property for holidays. Grand Christmas and New Year parties also take place in the Great Hall each year. Additional events that have taken place include wellness retreats, fishing trips, small parties, and a variety of others. On November 11, 2016, the hotel won the ‘Hotel Interior Design’ category at the Northern Design Awards, a prestigious design award.

24 “Safety,” The Scottish Government, accessed April 5, 2019, https://www2.gov.scot/resource/building standards/2013NonDomestic/chunks/ch05.html

26

Fig 3.4-5: Two variations of guest rooms

Fig 3.6-7: The State Room

Fig 3.8: Guest bathroom

Fig 3.9: The Garrison, decorated for a wedding

27

Fig 3.10: Piscina in chapel of State Room

Fig 3.11: Piscina & hood in Great Hall

Fig 3.12: Door heights remain original

Fig 3.13: Electrical, Minstrel Gallery

Fig 3.14: Modern doors, Minstrel Gallery

Fig 3.15: Public bathroom, entryway

Fig 3.16: Public bathroom, entryway

Fig 3.17: Cove lighting, Great Hall

Fig 3.18: Thermostat in guest room

28

Fig 3.19: Stone condition with addition of cove detail

Fig 3.20: Hidden television in guest room

Fig 3.21: Plumbing, electric system in basement 29

30

IV. Conclusion

Each renovation of Borthwick Castle has followed the general rules of conservation quite well: most alterations, save for stone and roof restorations, are reversible. Those that are not as easily reversible are necessary for buildings to function in the twenty-first century, such as the addition of modern plumbing and electricity. Some lighting elements are not explicity essential, but add an extra vibrancy that former frescoes and paintings would have contributed. Efforts have been made to conceal the modern technologies from plain sight, including hiding television and refreshment units in subtle yet beautifully carved cabinetry.

Overall, this is a very sympathetic conversion of an intact 15th century Scottish stronghold into a functional and modern hotel.

Like many converted castles with a contemporary use, Borthwick does not address the issue of universal access in any capacity. A guest room exists adjacent to the Great Hall, but it is still only accessible via external stairs by reception, which is located in the former Guard Room. While this is the norm in Scotland for now, it might be worth future conservationists and designers investigating more in this topic to offer everyone, regardless of physical capabilities, the same guest experience.

31

V. Bibliography

Billings, R. W. The baronial and ecclesiastical antiquities of Scotland. Edinburgh: T. N. Foulis, 1909.

Borthwick Castle. “Gatehouse.” Accessed April 5, 2019. https://www.borthwickcastle.com/m/gatehouse.html Borthwick Castle. “History of Borthwick Castle.” Accessed March 5, 2019. https://www.borthwickcastle. com/history.html Glendinning, Miles and Aonghus MacKechnie. Scottish Architecture. London: Thames & Hudson, 2004.

Historic Environment Scotland. “Borthwick Castle, Including Outer Walls and GatehouseLB805.” Accessed April 1, 2019. http://portal.historicenvironment.scot/designation/LB805 Rose, Kieran. “Borthwick Castle History.” Provided by management at Borthwick Castle.

Tabraham, Chris. Scotland’s Castles. London: B T Batsford, 2005.

The Guardian. “Obituary: Helen Bailey.” Accessed April 1, 2019. https://www.theguardian.com/ news/2007/jan/31/obituaries.mainsection The Scottish Government. “Safety.” Accessed April 5, 2019. https://www2.gov.scot/resource/buildingstandards/2013NonDomestic/chunks/ch05.html

32

VI. List of Figures

Fig 0.1: Sketch of Borthwick Castle, watercolour on white paper. 1818. Reproduced from JMW Turner’s Borthwick Castle. Accessed March 12, 2019. https://fineartconnoisseur.com/2017/07/turners-stain/ Fig 0.2: Aerial view of Borthwick Castle. Reproduced from Canmore. Accessed March 12, 2019. https:// canmore.org.uk/file/image/1680437

Introduction Fig 1.1: Map of Borthwick Castle in Midlothian. Reproduced from Canmore. Accessed March 12, 2019. https://canmore.org.uk/site/245672/borthwick-castle-gateway Fig 1.2: Map of Borthwick Castle in relation to Edinburgh and surrounding Midlothian. Produced by author.

Fig 1.3: General plan of Borthwick Castle. Reproduced from Carney Castle. Accessed April 1, 2019. http://carneycastle.com/Borthwick/index.htm Fig 1.4: Section perspective of Borthwick Castle noting current bedchambers, gathering spaces and circulation. Reproduced and distributed by management of Borthwick Castle.

Fig 1.5: Painting of Borthwick Castle by Robert Gibb, 1831. Reproduced from the Royal Scottish Academy of Art & Architecture. Accessed April 1, 2019. https://artuk.org/discover/artworks/borthwick-castle-186800 Fig 1.6: Current view of Borthwick’s entry. Image by author.

Fig 1.7: Sketch of eastern facade, 1834. Reproduced from Canmore. Accessed March 9, 2019. https:// canmore.org.uk/file/image/1152264 Fig 1.8: Present day view of eastern facade. Image by author.

33

Phases of Interventions Fig 2.1: Exploded axon of original Borthwick Castle. Reproduced from Chris Tabraham, Scotland’s Castles (London: B T Batsford, 2005), 73.

Fig 2.2: Buffet in Great Hall, post-early 20th century renovation. Reproduced from Canmore. Accessed March 12, 2019. https://canmore.org.uk/file/image/1233359 Fig 2.3: Buffet as it appears in 2019. Image by author.

Fig 2.4: Chapel in State Room, post-early 20th C renovation. Reproduced from Canmore. Accessed April 1, 2019. https://canmore.org.uk/file/image/1233360 Fig 2.5: Chapel as it appears in 2019. Image by author.

Fig 2.6: Engraving showing ruined fireplace of Great Hall. Reproduced from Canmore. Accessed April 1, 2019. https://canmore.org.uk/file/image/1236528 Fig 2.7: Engraving showing restored fireplace, note the inconsistency in the stone and variety of masons’ marks. Reproduced from Canmore. Accessed April 1, 2019. https://canmore.org.uk/file/image/1236529 Fig 2.8: Drawing from 1844, showing the state of the gatehouse and its walls before first restoration.

Reproduced from Canmore. Accessed March 20, 2019. https://canmore.org.uk/file/image/1462217 Fig 2.9: Drawing of interior view of Gatehouse. Reproduced from Canmore. Accessed April 1, 2019. https://canmore.org.uk/file/image/1462220 Fig 2.10: Armorial shield depicting the date “1913.” Image by author.

Fig 2.11: Great Hall, post early-20th C restoration. Reproduced from Canmore. Accessed March 20, 2019. https://canmore.org.uk/file/image/1233333 34

Fig 2.12: Elevations and sections, 1929. Reproduced from Canmore. Accessed April 1, 2019. https://canmore.org.uk/file/image/1233681 Fig 2.13: Photo of Borthwick Castle, 1930. Reproduced from Canmore. Accessed March 20, 2019. https://canmore.org.uk/file/image/1244710 Fig 2.14-16: The ‘Mary Queen of Scots’ themed hotel room, 1990s. Reproduced from Marie Stuart’s Castles. Accessed April 1, 2019. http://www.marie-stuart.co.uk/Castles/Borthwick2.htm Fig 2.17-19: The Great Hall, 1990s. Reproduced from Marie Stuart’s Castles. Accessed April 1, 2019. http://www.marie-stuart.co.uk/Castles/Borthwick2.htm Fig 2.20-21: The State Room and chapel, 1990s. Reproduced from Marie Stuart’s Castles. Accessed April 1, 2019. http://www.marie-stuart.co.uk/Castles/Borthwick2.htm Fig 2.22: Wine cellar in former dungeon, 1990s. Reproduced from Marie Stuart’s Castles. Accessed April 1, 2019. http://www.marie-stuart.co.uk/Castles/Borthwick2.htm Fig 2.23: Garrison as wedding venue, 1990s. Reproduced from Marie Stuart’s Castles. Accessed April 1, 2019. http://www.marie-stuart.co.uk/Castles/Borthwick2.htm

Latest Renovation Fig 3.1-2: Great Hall dressed for dinner. Reproduced from Celtic Castles. Accessed April 5, 2019. https://www.celticcastles.com/new-year-packages/borthwick-castle-new-year-2019/?source=newyear Fig 3.3: The Gatehouse. Reproduced from Borthwick Castle. Accessed April 5, 2019. https://www. borthwickcastle.com/rooms/gatehouse.html Fig 3.4-5: Two variations of guest rooms. Reproduced from Celtic Castles. Accessed April 5, 2019. https://www.celticcastles.com/new-year-packages/borthwick-castle-new-year-2019/?source=newyear 35

Fig 3.6-7: The State Room. Reproduced from Celtic Castles. Accessed April 5, 2019. https://www.celticcastles.com/new-year-packages/borthwick-castle-new-year-2019/?source=newyear Fig 3.8: Guest bathroom. Reproduced from Celtic Castles. Accessed April 5, 2019. https://www.celticcastles.com/new-year-packages/borthwick-castle-new-year-2019/?source=newyear Fig 3.9: The Garrison, decorated for a wedding. Reproduced from Meeting Edinburgh. Accessed April 5, 2019. https://www.meetingedinburgh.com/Borthwick-Castle-24697/Red-Rose-Bedchamber-24698 Fig 3.10: Piscina in chapel of State Room. Image by author.

Fig 3.11: Piscina & hood in Great Hall. Image by author.

Fig 3.12: Door heights remain original. Image by author.

Fig 3.13: Electrical, Minstrel Gallery. Image by author.

Fig 3.14: Modern doors, Minstrel Gallery. Image by author.

Fig 3.15: Public bathroom, entryway. Image by author.

Fig 3.16: Public bathroom, entryway. Image by author.

Fig 3.17: Cover lighting, Great Hall. Image by author.

Fig 3.18: Thermostat in guest room. Image by author.

Fig 3.19: Stone condition with addition of cove detail. Image by author.

Fig 3.20: Hidden television in guest room. Image by author.

Fig 3.21: Plumbing, electric system in basement. Image by author.