Page:The castellated and domestic architecture of Scotland from the twelfth to the eighteenth century (1887) - Volume 2.djvu/34

FOURTH PERIOD 18 MODIFICATIONS infrequently set apart for the staircase. This was the case at Glenbucket, Castle Huntly, Notland, Harthill, etc., and at Elcho the staircase is in a similar tower, which occurs at one angle only. At Huntly Castle, Earl's Hall, and other places, the wide staircase is carried up to the top of the building. The finest example of this kind of fully developed newel staircase is the well-known one of Fyvie Castle. The next stage in the plan of the staircase is the introduction of the straight or scale stair. Of the earliest form of the scale stair, which consisted of a single straight flight leading to the principal floor, we have good examples at Drum Castle and Craigievar. In the early part of the seventeenth century this form of staircase came to be almost universally adopted, and was extended so as to form several flights leading to the different floors. The newel is a solid wall, and is ornamented with half round pillars at the ends, frequently with carved caps and bases. The staircase of the later buildings at Crichton Castle is a very fine and typical example. As time progressed many other modifications both of external design and internal arrangements were introduced. After the gables had to a large extent driven the turrets from the field, the Scottish style of house became somewhat simplified, although still retaining many of its essential features. During the seventeenth cen- tury the Renaissance gradually dispossessed the native style of ornament, but the old plans are still adhered to, and we have even in this late period examples of the simple keep, and of the Z plan. The L plan also continues to be used on a large scale, as at Innes House, Morayshire. Although the angle turrets have generally disappeared, we find many examples of the favourite corbelling yet retained, as at Duntarvie and Caroline Park. As time progresses there is a great advance towards modern arrange- ments and comforts, and a very marked tendency towards symmetry in the design of the elevations is gradually creeping in. We find many examples of efforts towards this end. The door is placed as nearly as possible in the centre, and wings or towers are built at each flank to balance one another. But there is evidently a difficulty experienced in reconciling the internal arrangements with the external uniformity. It is not till we reach such late examples as Caroline Park and Drumlanrig Castle, built in the latter half of the seventeenth century, that perfect symmetry is arrived at. These innovations naturally led to a gradual departure from the traditional plans, and to an approach to more modern forms. James vi., being King of England as well as Scotland, naturally brought the two countries into closer connection, and we find many indications of the influence of English art on that of Scotland from the