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Summary

Description

Earlier to mid 19th century; external additions and internal alterations Reginald Fairlie, 1935. Single storey and basement, 4-bay, asymmetrical, classically-detailed house; subdivided to form separate flats later 20th century. Whitewashed harl; painted margins; painted strip quoins. Raised band course at principal floor; corniced canted window at ground; raised eaves course beneath dentilled eaves. Architraved and corniced window surrounds; projecting cills at basement; pedimented, columnar entrance porch.

S (ENTRANCE) ELEVATION: steps to entrance in penultimate bay to outer right; 2-leaf timber panelled door, flanking multi-paned side-lights, multi-paned fanlight; surrounding doorpiece comprising advanced flanking pilasters, Doric columns, plain entablature, surmounting pediment. Single window at ground in bay to outer right; 3-light canted window in bay to left; single window in bay to outer left.

E (SIDE) ELEVATION: 5-bay. 3-light canted windows at ground and basement in bay to outer left and penultimate bay to outer right. Single windows at both floors in 2 bays recessed at centre; single windows at both floors in bay to outer right.

W (SIDE) ELEVATION: 5-bay with single bay lean-to addition to outer left; 2-bay piended block recessed beyond. Modern door at ground in bay to outer right; 9-pane fanlight above; single windows in 4 bays to left; recessed block comprising large bipartite window centred at ground; 2-leaf timber door in bay to outer right; opaque fanlight; single window above.

Predominantly 12-pane timber sash and case windows. Piended grey slate roof; ashlar ridge stacks; corniced octagonal flues; decorative capped ventilators.

INTERIOR: broken pediment surmounting glazed timber vestibule door; flanking multi-paned side lights; tripartite fanlight; marble floor. Timber dado panelling; detailed cornice work; timber panelled doors. Adamesque-style chimneypiece in drawing room to right of hall.

GATEPIERS: corniced, panelled ashlar gatepiers flanking entrance; raised base course, consoled frieze detailing, urn-shaped finials.

Statement of Special Interest

Commissioned by John Miller, a Liverpool wood merchant, shipowner and patron of the arts. The Buteman notes how he was "...much respected .... at one time well-known and highly esteemed here." In his GUIDE TO ROTHESAY, Wilson describes Ardencraig as a "...large and exceedingly handsome mansion, built after a plan modernised from the French by its highly-esteemed and excellent proprietor." The surrounding gardens and nearby coach-house and lodge all derive from around the same period. Fairlie's additions and internal alterations were commissioned by Lord and Lady Crichton Stuart and renowned garden designer, Percy Cane, laid out new gardens around the same time. More recently subdivided internally to form separate holiday flats.

Rothesay is one of Scotland's premier seaside resorts, developed primarily during the second half of the 19th and early 20th centuries, and incorporates an earlier medieval settlement. The town retains a wide range of buildings characteristic of its development as a high status 19th century holiday resort, including a range of fine villas, a Victorian pier and promenade.

The history and development of Rothesay is defined by two major phases. The development of the medieval town, centred on Rothesay Castle, and the later 19th and early 20th century development of the town as a seaside resort. Buildings from this later development, reflect the wealth of the town during its heyday as a tourist destination, and include a range of domestic and commercial architecture of a scale sometimes found in larger burghs. Both the 19th and early 20th century growth of the town, with a particular flourish during the inter-war period, included areas of reclaimed foreshore, particularly along the coast to the east of the town and around the pier and pleasure gardens.

(List description revised as part of Rothesay listing review 2010-11).

References

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