Moray House and early Scottish plaster ceilings

This page provides a guide to three original surviving plaster ceilings in Moray House, which will then be put in the context of early 17th century Scottish plaster ceilings, with information provided on the techniques used and other examples of such ceilings in Scotland.

Old Moray House plaster ceilings

Three plaster ceilings from the original town house of Mary, Countess of Home, which was built around 1618 still survive today. These illustrate this form of interior decoration which became popular in Scotland in the early 17th century.

There is no historical evidence to confirm the date Old Moray House was built or the architect responsible. However, the styles of its three plaster ceilings confirm a date between 1618 and the early 1620s.

Two styles are represented: a simpler one used in the first floor south facing room (the Cromwell Room) and at the head of the turnpike stone stair; and a more complex one in the larger first floor north facing room (the Balcony Room). Having two such different styles is characteristic of other houses of this age, for example, in Winton House, East Lothian. The Cromwell and Balcony Rooms were probably the drawing and dining rooms of Mary, Countess of Home’s house.

The Cromwell Room

This is a square room with a beautiful domed plaster ceiling. It is divided into quadrants by four large ribs which end in a plain saucer dome. Each quadrant is divided into panels by a pattern of simple moulded ribs. An ‘ornament’ has been applied in each panel, usually of relatively simple design: a floral spray or vase, lion, griffin, hero, emblem, thistle or fleur-de-lis. This ceiling shares a number of ornaments in common with those in Pinkie House, Musselburgh (1613), and Winton House, East Lothian (early 1630s).

Head of Stair

The two main rooms on the first floor of the house were both originally accessed by a turnpike stone staircase on the west side of the building. At the top of the stairs a wooden newel post ends in a simple saucer shaped plaster ceiling. The general design is similar to that of the Cromwell Room, with simple ribs creating panels each with a single ornament. There are twenty one panels in all containing: griffins (2), lions (2), fleur-de-lis (7), figures (3), thistles (3), roses (2) and flower sprays (2).

The Balcony Room

This rectangular room has an impressive vaulted and elaborate plaster ceiling. The main corner ribs meet in the centre of the ceiling at a large pendant. Secondary pendants have been incorporated into each corner rib.

Unlike those in the Cromwell Room, the panels are created by wide ribs or stiles. These stiles are themselves richly decorated - with ‘running ornaments’. The stiles form a series of complex panel patterns over the whole ceiling. Each panel contains a single ornament, a number of which are quite detailed. As in the Cromwell Room some of the ornaments are identical to those in Winton House, East Lothian. This suggests that the same master plasterer may have been employed in both these houses.

Ornaments include: fleur-de-lis and thistles, cherubs, vases of flowers, fruit, lions and griffins. The more complex ornaments include a goddess (panel 4) surrounded by a variety of flowers and fruits, and a god (panel 10) holding grapes and also surrounded by flowers.

Early 17th century Scottish plaster ceilings

Interior decorative plasterwork was widely used in England during the 16th century. The Union of the Scottish and English crowns in 1603 led to greater political stability and the freer movement of people and ideas between the two nations. Master craftsmen in plasterwork came to Scotland in order to undertake commissioned work.

16/17th century room decoration

In the 16th century, rooms of wealthy clients were made more comfortable in a variety of ways: with wooden panelling, or with hangings or by painting walls and/or ceilings. Between 1580 and 1650 painted room decoration was widespread throughout Scotland. This was often associated with wall hangings such as tapestries. Early painting was in tempera, with a wider variety of styles and colours introduced later. Surviving examples in Scotland include ceilings in Gladstone’s Land, Edinburgh, Crathes Castle, Aberdeenshire and Culross Palace in Fife.

The first major phase for installing decorative plaster ceilings in Scotland started early in the 17th century and lasted into the 1650s. A subsequent phase was stimulated by the redecoration of Holyrood Palace in the 1670s. The decorated plasterwork in the great rooms at Kellie Castle, Fife (1676) is representative of this period. By the end of the 17th century many town houses and castles had panelled plaster ceilings. The classical revivals of the eighteenth century were associated with a further flowering of this decorative form.

The three plaster ceilings in Old Moray House are an example of the first phase which began early in the 17th century.

The construction of plaster ceilings

During the first decades of the 17th century the initial stage of making the plaster was to roast limestone or chalk in a kiln to form quick lime which would be stored until needed. The quick lime was then slaked with water, and sand added to form a ‘putty’. When ready for application a binding agent would be added, usually cow or goat hair. The plaster once applied would be allowed to slowly dry and harden through absorption of carbon dioxide from the air, thereby improving over time. A finishing coat usually of lime and fine sand would then be added. The finished colour would be white to off white. However, there was much local variation to the techniques deployed. These early techniques would later be replaced by stucco, where ground marble was added to the lime mix.

Where appropiate the basic structure of a ceiling would be made from wooden lathes some 1 - 1.5 inches wide and 0.375 inches apart. The woods used could include oak, beech or white pine. Before any plaster was applied the lathes would be wetted and left for several hours.

The mixing and application of the plaster required skilled plasterers. A seven year apprenticeship was necessary, working under a master plasterer. In England the early popularity of plasterwork led to the establishment of the Worshipful Company of Plaisterers in London at the beginning of the 16th century. York was a particularly active centre for plaster work and teams of skilled workers from that region may have contributed to the developments in Scotland.

Ornamentation and Designs

The earliest Scottish ceilings were of relatively simple design with moulded ribs creating panels in which a variety of ‘ornaments’ were placed. Later designs used more complex designs and modelling. The ceilings of larger rooms were often barrelled, or vaulted with pendants.

Ornaments were cast in a lime rich mix usually with reinforcement. Reverse carved wooden moulds were used, made from boxwood or yew. Occasionally iron moulds were used. Lime putty would be punched into the moulds before application to the ceiling or frieze. Complex patterns were first drawn on the ceiling and then the components - leaves, stems etc - added. Where required the cast could be remodelled as the craftsman required.

Moulds were expensive to make and were constantly reused by the plasterers. Consequently the work of individual craftsmen can be traced from building to building. For example, the same or similar moulds were used in Pinkie House, Old Moray House, and Winton House. Some designs appear to have been used over a number of decades. Catalogues of patterns were published in England from the middle of the 16th century onwards.

The plaster medium leant itself to increasing complexity and a flamboyance of design. At first simple ornaments were deployed: animals, thistles, fleur-de-lis and monograms. Later, more complex ornaments were created including emblems and armorial crests. Fashions came and went: an element such as the pendant was initially popular but had declined by the time of the Civil War.

Examples of early Scottish plaster ceilings

Amongst the earliest 17th century work was that carried out for James VI/I in Edinburgh Castle in 1617. William Wallace, the King’s Master Mason, worked on this refurbishment. The plaster craftsman was Johne Johnstoun from York.

In Pinkie House, Midlothian (now part of Loretto School) delicate floral and heraldic motifs were used within an array of simple moulded ribs (1613).

Old Moray House, Canongate in Edinburgh, has three plaster ceilings which date from around 1618 - early 1620s. A number of the ornaments are the same as those used in Pinkie House. The Balcony Room has a complex pendant arrangement, with a central pendant and four secondary ones.

The Library in Winton House, East Lothian, has an elaborate ceiling completed in 1635. Broad complex ribs with ‘running ornaments’ create the panels. Pendants have also been included. Some of the ornamentation is similar to that in Pinkie House and Old Moray House. William Wallace worked on the earlier stages of the Winton House (1619).

A number of the rooms in Craigievar Castle, Aberdeenshire, have magnificent plaster ceilings. The Hall, for example, has a spectacular vaulted ceiling and detailed frieze dated 1626. The broad patterned ribs or stiles frame profiles of Roman emperors. The ceiling in the Ladies’ Withdrawing Room bears the earlier date of 1625. It appears that some of the plaster moulds were originally used in Bromley-by-Bow in London at the beginning of the seventeenth century.

The House of the Binns, West Lothian, has two ceilings which were decorated for a planned visit of Charles I. The ceiling of the High Hall is dated 1630. It has a central pendant and a pattern of simple ribs creating panels enclosing basic ornaments. The King’s Room, also dating from around 1630, has broader patterned ribs and a central pendant.

In Brodie Castle, Moray, early seventeenth century plaster work has survived (late 1630s). The broad ribs and motifs in the Blue Sitting Room are typical of this period. Angels, armorial bearings and flowers, including, thistles are included.

Material compiled and edited in 2002/03 by Hugh Perfect (Dupute Head of Moray House School of Education /Honorary Archivist of Moray House Archive)