25 Learmonth Terrace, Edinburgh

25 Learmonth Terrace, Edinburgh

Designed by James Simpson, 1891–93. A three-storey townhouse with basement and attic storeys, comprising a four-bay rectangular plan and arranged as an end terrace with Greek detailing. The site slopes steeply to the rear (north), creating additional basement storeys. Built in sandstone ashlar with a banded base course and moulded cill courses at first and second floors. The building is crowned with a corniced eaves course featuring large console brackets, a blind parapet to the principal (south) elevation, and a balustraded parapet to the sides and rear. The interior contains an outstanding decorative scheme by Scott Morton and Company, including stained glass by Daniel Cottier, 1893.

The principal (south) elevation features three-light, two-storey Corinthian columned bowed bays flanking a central doorway, with a single bay to the right (east). Anthemion friezes decorate the bowed bays and first-floor windows. The doorway is centred beneath an advanced corniced porch supported by Corinthian columns. Moulded architraved windows at ground and first floors have bracketed cornices, while the second floor features moulded architraved surrounds with tripartite windows above the bowed bays. Two semicircular pedimented bipartite sandstone ashlar dormers flank a triangular pedimented dormer at attic level, grouped off-centre to the left and integrated into the blind parapet.

The east (side) elevation spans roughly six bays, stepping down as the ground falls away to the north. An advanced breakfronted bay projects at the far left with windows returning to the right, followed by further bays stepping progressively back. Corbelled-out circular plan bays at full height extend to a corner bay at the right. Windows throughout have moulded architraved surrounds, some with cornices and tripartite glazing.

The rear (north) elevation displays roughly four bays across four storeys and attic above a deep basement. Paired corbelled three-light canted bays occupy the centre at third-floor level, with bipartite rectangular sandstone ashlar dormers above. Fenestration is roughly regular with architraved surrounds throughout.

The windows throughout are predominantly plate glass in timber sash-and-case frames. A mansard roof with grey slates tops the building, topped by corniced sandstone ashlar ridge and wallhead stacks, some with raised and fielded panels and modern clay cans. Decorative cast-iron rainwater goods with dated and inscribed hoppers (A.S. 1893) and cast-iron railings edging the basement area to the street complete the exterior.

The interior contains an outstanding highly decorative classical scheme by W. Scott Morton, 1893. A large entrance hall features a Grecian decorative scheme with a grand staircase and mahogany panelling. Cottier stained glass appears in the vestibule door and some bowed windows. The hall's chimneypiece features Ionic columns, and an ornate compartmentalised ceiling is trimmed with a rich cornice. The top-lit stairwell is further decorated with panelling and mosaic inlay, while a Corinthian columned balustrade features carved winged horses. A columned screen at first-floor level incorporates mahogany caryatids with a copy of the Parthenon frieze above.

The Renaissance dining room features a Jacobean ribbed ceiling with ornate cornice. A large chimneypiece opens to an ingleneuk, while the lower windows contain further Cottier stained glass depicting the seasons. Additional Doric columned arcades and an elaborate timber screen in American walnut define the library. The breakfast room contains a bronze and copper chimneypiece set with Dutch tiles. The drawing room displays an Adamesque ceiling with elm panelling and an alabaster chimneypiece with caryatids flanking a central stove adorned with sphinxes.

The first-floor rooms include French, Elizabethan, and Adamesque chambers, all richly detailed. Former bedrooms at the rear of the first floor include one with Corinthian columns and pilasters beneath embossed Tynecastle canvas ceiling decoration. A Neo-Elizabethan billiards room, accessed by a small stair of circa 1950 date, is lined with oak panelling and further embossed Tynecastle canvas. Three arched arcaded screens define the dais at either end, each with richly detailed chimney pieces.