Inveraray: A Grand Castle in Western Scotland

Inveraray’s exterior has the appearance of a medieval castle, with outer walls surrounding a courtyard and a keep on one side. In reality, the walls surround a fully enclosed house and the “keep” is a tower built on top of its center. Trotalo/Shutterstock

The Scots have long remembered 1746 as the year when the British government outlawed kilts, tartans, and bagpipes in response to the (largely Scottish) 1745 Jacobite rebellion. Few know that 1746 also saw the staunchly loyalist 3rd Duke of Argyll commence an architectural project which helped Scottish culture become beloved throughout the UK, building Inveraray Castle in the Gothic style. At the time, that was an unusual decision.

For over half a century, Scotland’s major architectural projects had been dominated by classicism. Gothic was out of favor for large-scale building in Britain. Construction of the most famous mid-18th-century Gothic work, Strawberry Hill House, didn’t begin until 1749.

But Gothic architecture was closely linked to Argyll’s heritage. Like his ancestors since at least 1200, he was chief of Clan Campbell. His father had been 10th Earl of Argyll before his elevation to duke. The original Inveraray Castle was built during the first earl’s lifetime (1433–1493) and evolved into the family seat by the mid-17th century.

Soon after inheriting his dukedom in 1743, the third duke made plans to build a new home just west of the decaying castle.

The basic design was a rather unique one drawn up for the second duke by John Vanbrugh (who died 1726). Viewed from the outside, the new Inveraray Castle—a rectangular building with round corner towers—seems to live up to its name. Its internal structure, however, is that of an 18th-century country house. Depending on the part of the house in question, interior aesthetics range from Gothic to classical to Baroque.

Building such a house in 1746 was precedent-setting. The house helped to set in motion both the Gothic Revival and the love for Scotland’s history and traditional culture, which gained popularity in Victorian Britain.

The windows on Inveraray Castle’s outer wall, the gabled dormers above the top story, and windows above the towers are typical of Renaissance-era renovations and complement the medieval conical roofs. The bridge recalls those once built over dry moats. Julien.Scavini/CC BY-SA 4.0

Inveraray is home to over 1,300 weapons, largely dating from the 14th to 18th centuries. In the Great Hall (also called the Armoury), muskets, Lochaber axes, and halberds are arranged to resemble old-fashioned handheld folding fans when seen from a distance. Seen from closer up, the alternation between muskets or halberds with the gaps between them matches the appearance of the railings. (Julien.Scavini/CC BY-SA 4.0)

Decorated in late 18th-century French style, Inveraray Castle’s Drawing Room demonstrates the interior’s aesthetic variety. The painting above the fireplace depicts a daughter of the 5th Duke of Argyll as "Aurora." The large tapestries covering much of the wall space were made by France’s famous Beauvais Manufactory. (Julien.Scavini/CC BY-SA 4.0)

Thomas Gainsborough’s portrait of the 4th Duke of Argyll is the most prominent decoration in the State Dining Room of Inveraray Castle—which otherwise shares the French classicist aesthetic of the Drawing Room. Beauvais tapestry makes another but more subtle appearance as upholstery for the chairs. (Julien.Scavini/CC BY-SA 4.0)

The Saloon is a large, elaborately decorated, well-furnished and centrally located hall. Ordinarily functioning somewhat like a lobby, its size allowed large social gatherings to be held in it. Above the couch is another Gainsborough portrait, this one of Field Marshall Henry Seymour-Conway, a son-in-law of the fourth duke. (Julien.Scavini/CC BY-SA 4.0)

Despite the kitchen naturally being simpler and more practical than most rooms in Inveraray, it nevertheless shares elements of the castle’s aesthetic. While the windows perfectly match those seen on the remainder of the castle walls, the yellow walls and white trim of the interior is the same as that found in the Great Hall. (Julien.Scavini/CC BY-SA 4.0)

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