Newhailes, Musselburgh

Newhailes, Musselburgh

A major classical country house designed by James Smith in 1686, substantially extended and remodelled by William Adam from approximately 1720 onwards. The house represents an outstanding example of early 18th-century Scottish architecture with exceptionally preserved interiors.

The main building is a seven-bay, two-storey structure with basement, rendered in natural harl and lined render with ashlar dressings. Chamfered reveals and quoins define the original house, while the pavilions and linking bays feature simple ashlar dressings. A base course and moulded cornice run across all elevations. Three-bay outer pavilions flank the main block, connected by recessed linking bays, all dating from William Adam's work of the 1720s onwards.

The south-west elevation presents the principal façade. Three central bays advance forward and break the eaves line, forming an astylar pedimented centrepiece. A distyle Doric porch in antis with keystoned details and decorated entablature opens to the basement. The main doorway above, designed by James Smith, is pedimented with fluted tapering pilasters and bears the inscription "Laudo Manentem" on the lintel; the tympanum contains a relief dating from approximately 1720. Above this is a double stair with decorative wrought-iron balustrade and monogram, also of circa 1720. Two-leaf panelled doors serve the principal entrance. Regular fenestration occurs across each bay at each floor, though partly obscured by the basement stair. An oculus lights the main pediment; flanking urns have been removed. The two outer bays on each side display regular fenestration. The linking bays are slightly recessed, each containing a ground-floor door with windows above. The pavilions, advanced from 1720, have windows to principal and first floors on their return elevations toward the centre; the south-west-facing windows include those of the right pavilion, which are now blinded.

The north-east elevation mirrors the south-west façade but without the double stair and with a single doorway. A simple flight of steps leads to a pedimented doorway at centre, inscribed "Sapienter Uti" with a profile relief in the tympanum. Regular fenestration extends across this elevation at each floor. The basement has no windows, and windows to principal and first floors in the left pavilion are blinded.

The south-east elevation rises on higher ground, obscuring the basement. Five bays feature round-arched windows with shell keystones and impost capitals. The centre window is lengthened as a door, with a wall-mounted sundial above. Blank rectangular ashlar tablets occupy the spaces above each window. A small bull's-eye ventilation opening occurs at ground level.

The north-west elevation comprises two bays with a basement recess. Two principal-floor windows feature the round-arched details with moulded surrounds seen on the south-east elevation; two rectangular first-floor windows sit above. Broad pilaster strips mark the outer angles. Twelve-pane glazing defines most sash and case windows, with four-pane glazing to the majority of principal-floor windows on front and rear. Round-arched windows on the end elevations display radial and Y-traceried patterns. Grey slate peined and platform roofs are finished with lead flashings. Panelled and corniced stacks, paired on load-bearing walls at the centre, rise from the roof.

The interior is outstanding. Rooms are arranged in an enfilade sequence. A vaulted kitchen occupies the basement. Most interiors from James Smith's original design survive, including the stairwell, Chinese Room, Alcove Bedroom and Ante-room to Library. The oval stairwell contains a cantilevered stone and timber stair with a fine wrought-iron balustrade by William Aitken. The Chinese Room features a basket-arched marble chimneypiece, built-in bookcases and lugged door surrounds. Paintwork in the principal rooms, executed by James Norie in 1739, remains in place, along with landscape mural paintings. William Adam's carved gilding is complemented by exuberant plasterwork by Thomas Clayton and Samuel Calderwood.

The Dining Room displays family portraits by Alan Ramsay and Raeburn (Dalrymple family) and is separated by an Ionic screen. Classical marble chimneypieces by Henry Cheere of Westminster (1739) occupy the Dining Room and Library. The Library is lined with bookcases and contains landscape paintings of Hailes and Tantallon by John Thomson of Duddingston, dating to the early 19th century. Chinese wallpaper adorns the boudoir on the principal floor, while the Alcove Bedroom retains William Flockhart-like paper.

Terraces extend from the south-west and north-east elevations. An underground tunnel beneath the terrace to the north-west of the house, dating from approximately 1840, screens the view of servants' quarters; a small sunk court and outhouses adjoin it.

A pair of ashlar gatepiers, Burlingtonian in style, flanks the D-plan forecourt before the main elevation. Both are rusticated with rock-faced quoins and pedimented caps. Cast-iron railings link the main piers to smaller outer piers, which are likewise rock-faced and rusticated with ball finials.