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The Moray Estate in EdinburghThe rear of the Moray Estate overlooking the gardens on the Water of LeithDetail of 1845 OS map showing St Stephens Free church on Wemyss Place
The Moray Estate, also known as the Moray Fey, is an exclusive early 19th century building venture attaching the west side of the New Town, Edinburgh.
The ground, extending to 5.3 hectares, was acquired in 1782 by the 9th Earl of Moray from the Heriot Trust.[2] The land contained Drumsheugh House, Moray House and its service block, and large gardens lying between Charlotte Square and the Water of Leith.
In 1822 his son, Francis Stuart, 10th Earl of Moray, commissioned the architect James Gillespie (later known as James Gillespie Graham after marriage into the wealthy Graham family) to draw up plans to build over 150 huge townhouses on the land. The houses were set on large plots, even by surrounding New Town standards, and were complemented by a series of private gardens, most notably on the slopes of the Water of Leith.
The scheme was curtailed on its south side due to the proposed new road and bridge (suggested and partly funded by John Learmonth who owned lands on the west bank of the Water of Leith), which culminated in the construction of Dean Bridge 1829/31. Land south of this road line, including the Drumsheugh House section, were not developed until later (parcelled with other lands in the West End).
Sales were begun (from plan) by auction on 7 August 1822. Over and above the cost of the plot, purchasers agreed to a build cost of £2000 to £3000 (depending on the plot) and an annual fee of £30. A "penalty clause" also imposed a fine of £100 on buildings not completed within 30 months. If comparing these prices to the norm, even for the affluent New Town this was perhaps ten times more than might have been expected. While the houses were among the largest ever built, this clearly guaranteed an exclusivity from the outset.[3]
While the majority of plots sold well and quickly (some of the corner plots were less popular, mostly being completed in the 1850s) the scheme as a whole was completed in 1858. The final phase included a central section on Great Stuart Street on the east side between Ainslie Place and Randolph Place, and the two corner blocks on Ainslie Place flanking the access to St Colme Street/Albyn Place.[4]
As one of the most affluent areas in Edinburgh, it set a trend. Glazing was changed to one-over-one format over almost the entire estate by 1950, but when architectural conservation came to the fore in the 1970's, it was one of the first areas to almost wholly restore windows to their original form.
Most basements throughout the estate are now separate properties and many of the blocks are divided into flats.
The entire scheme was designed as a residential enclave with the exception of Wemyss Place, which had ground floor commercial properties and a church in its centre. This church, by John Thomas Rochead does not look like a church and blends very well with the street. It was originally St Stephen's Free Church created in 1847 for Rev Gillies. Whilst intended as residential many properties became commercial through the years and by the 1970s these commercial uses exceeded 50%. This has reversed in recent years.
The street lights were originally individual tallow lamps. A unified gas lighting design and system was introduced by John Kippen Watson in the 1860s and this was converted to electric around 1910. However, the original lamps were mainly removed and replaced by modern lamp-posts in the 1960s. Edinburgh's New Town Conservation Area Committee restored electric versions of the original lamps in the 1980s and these are highly appropriate in appearance. For some reason Forres Street was omitted from this upgrade and that street still has two 1960s lamp-posts.
The general form of the estate is as four storey and basement houses, set back behind the front basement area, and with a private garden to the rear. The continuous form necessitates a different solution on the corner blocks: these generally have a ground floor and basement duplex unit accessed from the more important street and flats above accessed from the secondary street. These either have no garden or a detached garden. From the pavement a flight of steps gives independent access to the basement, generally a service area. A short flight of steps rise to the main entrance, usually supported on a stone arch.
The buildings are constructed of local Craigleith sandstone with roofs of Scots slate with lead flashings.[5]
The typical interior has a grand open staircase built in stone topped by an ornate cupola giving it daylight, and often embellished with ornate plasterwork. The main room for public entertainment was usually the first floor front room.
Spaces
Gardens
Horonised pavement, Moray PlaceMoray Place Gardens
The gardens form part of the collection of New Town Gardens. The Bank Gardens between the estate and the Water of Leith extend to 4.1 acres and slope steeply and were raised further to level the estate. A virtually inevitable landslip occurred at the back of the Ainslie Place feus in 1825 and had to be rectified by the addition of structural arches by James Jardine. A further landslip in the south-west corner in 1837 required further arches and these were then re-invented as a high level walkway leading to Dean Bridge. However the southern section of the Bank Gardens did not become fully operational until 1840.[2]
Over and above the Bank Gardens two other substantial private gardens were created: Moray Place Gardens and Ainslie Place Gardens. Of these Moray Place Gardens is sufficiently large and sufficiently screened to provide picnic areas and croquet lawns.
The several garden areas remain the private joint property of the Moray Estate owners (often called the Moray Feuars).
The pavements around the gardens are of "horonised" form. This is created from a series of vertical slivers of granite, created by the squaring of the granite setts on the vehicle surface, thereby making full use of the material.
Mews
The Moray estate (due to its layout concept) is the only set of New Town buildings which do not have ancillary mews to the rear. Instead the mews were located remotely: on Gloucester Lane and on Randolph Lane. The mews are fewer in number than would be expected for the number of houses on the estate.
Moray Place
Moray Place, Edinburgh
Appearing as a circle but actually a duodecagon this is the largest and grandest space within the plan. Technically it is symmetrical around its northwest/southeast axis, but the scale of the form and central gardens makes this impossible to interpret on the ground, and this is only visible from above. Although rear mews were standard at the time of building, the layout did not allow this (the nearest are on Gloucester Lane).
Named after the Earl's wife, Margaret Jane Ainslie, daughter of Col. Sir Philip Ainslie of Pilton, Ainslie Place stands in the centre of the scheme. The format is an oval circus laid on a south-west to north-east axis, between the two halves of Great Stuart Street.
The rear of Randolph Crescent and Randolph Cliff as seen from Dean Bridge over the Bank Gardens
This street forms the entrance into the estate from the south. Randolph Crescent Garden was originally retained by Lord Moray and Graham's plan showed a large mansion in the centre, probably as a replacement to Drumsheugh House. It was ultimately decided this was not a good location to build.[3]
The elevated ground level in the central garden may be the original ground level or may be due to the placing of excess soil here during original construction. It facilitated a large air raid shelter being constructed here during the Second World War.[7]
The dramatic entrance to the Moray Estate from Dean Bridge begins with Randolph Cliff, which stands dramatically over the Water of Leith far below. It was one of the final sections to be completed (and quite an engineering feat) and is laid out as flats rather than houses. The corner block has a complex stair to access the main stair, unlike any other block on the estate.
Randolph Place
Somewhat detached from the rest of the estate, Randolph Place never had the same allure for housing and from the outset seems to have attracted office use. This may be because the rear of West Register House was never developed to the same standard as the front, creating a less attractive setting. Robert Adam's original plan for the building included a grand rear entrance onto Randolph Place. However, when the funds could not be found for Adam's design, architect Robert Reid was called in to modify the plan. The modified plan placed attenuated pavilions flanking a Diocletian window above a Venetian window at the rear of the building overlooking Randolph Place, and although architect David Bryce later drew up plans to add towers to the pavilions, this work was never carried out.[8][9] Randolph Place therefore became a comparatively unimpressive entrance from the West End's Melville Street, into Charlotte Square and on to George Street. City of Edinburgh Council have undertaken a number of public consultations on possible ways to improve Randolph Place in recent years, including potentially resurfacing it or the addition of green space and public art, and the possibility of a cycle route from Melville Street, to George Street via Randolph Place, but as of 2022 nothing has been agreed.[10][11]
Split into two halves by Ainslie Place, this street is named after the Earl's family name of Stuart and his additional title of Baron Stuart (granted in 1796). It forms the links between the main sections of the estate. It is the only north-south street in the New Town which numbers from the north (probably because building began at the north end).
Named after the Earl's country estate of Doune and family title (from 1581) of Lord Doune, this street links Moray Place to the lower streets around Stockbridge.
Named after the family rural estate of Glenfinlas in the Trossachs, this short street formed the north-west connection to Charlotte Square and appears a completion of the square. Due to boundary/ownership issues between the Moray Estate and Charlotte Square the final block was not completed until the late 20th century (the only block built as an office).
Named after the Earl of Moray's step-mother, Lady Margaret Wemyss, daughter of David Wemyss, 4th Earl of Wemyss. Wemyss Place is peripheral to the estate and visually links more to Queen Street and Heriot Row. It is one of the few sections built with a mews (accessed through a central pend). The central block was built as St Stephen's Free Church and in WW2 its open interior allowed use as a drill hall for Edinburgh's Home Guard and rather ridiculously (under the wartime rules) had to be painted in camouflage colours (making it very obvious). Repainted grey after the war it was only restored to natural stone in the late 20th century. Due to the high damage done by the paint to the stone a high proportion of the rear is wholly modern. The grey paint still survives on the arched vault of the pend leading from front to back.[citation needed]
James Stewart, 1st Earl of Moray was a member of the House of Stewart as the illegitimate son of King James V of Scotland. At times a supporter of his half-sister Mary, Queen of Scots, he was the regent of Scotland for his half-nephew, the infant King James VI, from 1567 until his assassination in 1570. He was the first head of government to be assassinated with a firearm.
Sir John Robert Steell was a Scottish sculptor. He modelled many of the leading figures of Scottish history and culture, and is best known for a number of sculptures displayed in Edinburgh, including the statue of Sir Walter Scott at the base of the Scott Monument.
William Douglas, 6th Earl of Morton was the son of Robert Douglas of Lochleven and Margaret Erskine, a former mistress of James V of Scotland.
The New Town is a central area of Edinburgh, the capital of Scotland. It was built in stages between 1767 and around 1850, and retains much of its original neo-classical and Georgian period architecture. Its best known street is Princes Street, facing Edinburgh Castle and the Old Town across the geological depression of the former Nor Loch. Together with the West End, the New Town was designated a UNESCO World Heritage Site alongside the Old Town in 1995. The area is also famed for the New Town Gardens, a heritage designation since March 2001.
Stockbridge is a district of Edinburgh, located north of the city centre, bounded by the New Town and by Comely Bank. The name is Scots stock brig from Anglic stocc brycg, meaning a timber bridge. Originally a small outlying village, it was incorporated into the City of Edinburgh in the 19th century. The current "Stock Bridge", built in 1801, is a stone structure spanning the Water of Leith. The painter Henry Raeburn (1756–1823) owned two adjoining estates, Deanhaugh and St Bernard's, which he developed with the assistance of the architect James Milne. Milne was also responsible for the fine St Bernard's Church (1823) in Saxe Coburg Street. Ann Street, designed by Raeburn and named after his wife, is a rare early example of a New Town street with private front gardens.
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Clan Charteris is a Scottish clan of the Scottish Lowlands.
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The Moray House School of Education and Sport is a school within the College of Arts, Humanities and Social Science at the University of Edinburgh. It is based in historic buildings on the Holyrood Campus, located between the Canongate and Holyrood Road.
Sir William Bruce of Kinross, 1st Baronet, was a Scottish gentleman-architect, "the effective founder of classical architecture in Scotland," as Howard Colvin observes. As a key figure in introducing the Palladian style into Scotland, he has been compared to the pioneering English architects Inigo Jones and Christopher Wren, and to the contemporaneous introducers of French style in English domestic architecture, Hugh May and Sir Roger Pratt.
Clan Spens or Spence is a Lowland Scottish clan and is also a sept of Clan MacDuff.
The West End is an affluent district of Edinburgh, Scotland, which along with the rest of the New Town and Old Town forms central Edinburgh, and Edinburgh's UNESCO World Heritage Site. The area boasts several of the city's hotels, restaurants, independent shops, offices and arts venues, including the Edinburgh Filmhouse, Edinburgh International Conference Centre and the Caledonian Hotel. The area also hosts art festivals and crafts fairs.
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References
↑ Youngson, A. J. (2019). The making of classical Edinburgh 1750–1840 (2019ed.). Edinburgh: Edinburgh University Press Ltd. ISBN978-1-4744-4801-7.
1 2 Buildings of Scotland: Edinburgh by Gifford, McWilliam and Walker
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