マウント・スチュアートの内部：おそらく聞いたことのない最も豪華な邸宅（ビュート島）

マウント・スチュアートの内部：おそらく聞いたことのない最も豪華な邸宅（ビュート島）

Set against the dramatic backdrop of 
the Isle of Bute, Mount Stuart House is more than just a stately home. It 
is a profound architectural statement, a Gothic revival masterpiece that stands as 
a testament to the boundless imagination, deep spirituality, and pioneering spirit 
of one man, John Patrick Crichton-Stuart, the third Marquis of Bute. Join us in part 
two of our Isle of Bute adventure when we explore the south of the island 
and tour this incredible property. Previously, in part one of our Isle of Bute tour, 
we were whisked away to the Victorian seaside gem of Rothesay. We delved into its stunning 
architecture, explored the ancient castle ruins, and uncovered why the Victorians flocked here, 
boarding paddle steamers in their droves to escape the industrial toil of Glasgow. 
Do check out that video if you missed it. Stepping out of the hotel and then setting off on 
our drive. The weather was a complete contrast to our first day. The outlook until the afternoon 
was wet and grey with some sharp showers. The drive to Mount Stuart from the centre 
of Rothesay is just 5 miles and 15 minutes. If you don’t have a car, then the island 
bus service runs regular departures from the centre of Rothesay straight to Mount 
Stuart. You can check the timetable here. Our arrival at the car park coincided 
with one of those sharp rain bursts, and we had no option but to 
sit it out for 20 minutes. The estate is open from spring to autumn, 
usually from April to October. All the information on visiting, opening times, 
and ticket prices can be found here. Before stepping inside to get out of the rain, the 
external facade tells a story of both disaster and defiance. The history of Mount Stuart began 
in 1719 when the first Georgian house was completed for the second Earl of Bute. This original structure housed the beginnings of the celebrated Bute collection, with the second Earl bringing 
books from Rothesay to his new library that year. In 1847, his son John Patrick Crichton-Stuart 
was born on the estate and succeeded to his family’s immense wealth and titles at the age 
of just 6 months following his father’s death. Orphaned at 12 when his mother passed away, he 
was educated at Harrow and later at Christ Church, Oxford. His vast fortune derived mainly from the 
booming Cardiff docks developed by his father, which reportedly made him the wealthiest man in 
the world. As he became an adult, the Marquis made a highly public and scandalous decision 
in Victorian society by converting to Roman Catholicism in December 1868. This period marked 
the start of his prolific architectural patronage, notably through his collaboration with architect 
William Burges on the fantastic restorations of Cardiff Castle and Castell Coch, projects that 
deeply reflected his interests in medievalism and scholarship. The Marquis’s focus on his 
ancestral home intensified after a devastating event on December 3rd, 1877 the original Georgian 
Mount Stuart house was largely destroyed by fire. Incredibly, most of the contents survived the 
fire. This included much of the priceless Bute collection of artwork, archives, rare books 
such as a Shakespeare first folio, furniture, and silverwork which had been amassed by 
generations of the family. Having already been engaged in plans for reconstructing the 
house to bring it up to date, the fire provided the immediate impetus for Bute to commission a 
total rebuild. Within 2 months of the catastrophe, he appointed Scottish architect Robert Rowand 
Anderson to design a replacement. The resulting mansion, begun in 1879, was envisioned 
by Bute as a palace rather than a mere house, incorporating cutting-edge technology, thus 
merging his scholarly medieval tastes with Victorian ingenuity. The resulting house is 
a flamboyant example of 19th century Gothic revival architecture built predominantly in a 
reddish brown stone. Yet, the interior is a unique architectural blend because the original Georgian 
wings survived the blaze and were seamlessly incorporated into the new design. Their smaller 
scale and white painted finish offering a striking contrast to the imposing Victorian block. The estate also encompasses 300 acres of spectacular gardens and grounds, including a globally 
significant plant collection, the Mawson-designed rock garden, and a private beach overlooking the
Firth of Clyde. We’ll have to see if the weather is kinder after our walk inside, but I’m not sure we’re going to see much of the gardens today. Mount Stuart’s dazzling interiors are a testament 
to the skill of British artisans. The grand rooms, hallways, and staircases form an 
intricate labyrinth meticulously designed with inspiration drawn from astrology, 
art, and mythology. Every element within the space is carefully crafted to tell a part 
of the Crichton-Stuart family’s history. The magnificent marble hall is 
undoubtedly the centrepiece, purposefully designed to evoke 
a lasting state of wonder. This soaring space reaching 80 feet is constructed 
from over 20 varieties of rare Italian and Sicilian marble and alabaster. The true marvel, 
however, is the vaulted ceiling, which features a majestic map of the stars studded with glass 
crystals representing the stars in their courses. The celestial theme continues with richly 
coloured stained glass windows that bathe the hall in light, depicting the signs of the 
zodiac and their corresponding seasons. Green windows for spring, Pisces, Aries, and Taurus. Red windows for summer, Gemini, Cancer, and Leo. Purple windows for autumn. 
Virgo, Libra, and Scorpio. Blue windows for winter. 
Sagittarius, Capricorn, Aquarius. The Marquis died during the final years of 
construction in 1900. This event halted the project and left a visible reminder. The hall 
features intricately carved capitals standing silently next to unfinished blank ones, leaving 
the decorative scheme perpetually incomplete. The two most significant tapestries 
adorning the marble hall are the Lord of the Hunt and the Time of the Meeting. Both 
commissioned by the fourth Marquis of Bute, and woven by the renowned Dovecot Studios which the 
Marquis himself helped to establish in 1912. Stepping into the chapel, your eyes 
are dazzled with serene beauty and breathtaking materials and design. 
Unlike the more colourful variegated marbles used in the famous marble hall, 
the chapel is primarily rendered in a brilliant white marble. This choice creates 
an atmosphere of ethereal calm and purity. Look down and you’ll see one of the chapel’s 
most exquisite features, the cosmetic flooring. This intricate geometric mosaic work, 
typical of medieval Italian architecture, links the chapel to ancient and sacred traditions. Remarkably, this same decorative style can be found in significant historical buildings 
like the Sistine Chapel and Westminster Abbey. The light in the chapel is often described as 
possessing a warm, soft glow. This is achieved through a hidden cupola glazed in pink, which casts 
a gentle rosy light onto the white marble below, enhancing a sense of reverence and warmth. While the chapel is an architectural treasure, it is far from a dusty museum piece. It remains 
a consecrated and actively used space, fulfilling the very function for which it was created. It 
is interdominational and is a highly sought-after venue for a variety of ceremonies and community 
events, including weddings and Christmas carol services. The painstaking level of detail in the 
stonework and the complex geometry of the design showcase an era when wealth and artistic passion 
combined to create something truly unparalleled. The journey continues through the houses’ 
luxurious reception and family spaces. The dining room is distinguished by its finely 
carved panelling featuring intricate nature motifs, including foraging squirrels. 
In a deliberate move to honour the past, the room incorporates fireplaces salvaged from 
the original 18th-century Mount Stuart house. This space is also often used to display fine Scottish 
18th-century silver from the Bute collection. The extensive timber panelling includes 
a carved dado freize and timber ceiling. The woodwork was executed by 
the craftsman William Frame. One of the collection’s finest pieces 
is this custom-designed silver, enamel, and ebony cutlery set inlaid with 
mother-of-pearl by the famed architect and designer William Burgess, created for 
the 3rd Marqués following his conversion to Catholicism. Apparently, even though 
he disliked fish, he ate it every Friday. The drawing room at Mount Stuart, designed 
primarily by Anderson in the 1890s, is a breathtaking display of luxury and scholarly 
interest. The remarkable ceiling functions as a genealogical chart, intricately depicting 
the male descendants of the second earl of using elaborate heraldic shields set 
against a shimmering background of mica. These stunning stained glass windows by 
Horatio Lonsdale depict classical figures, specifically the nine muses of Greek mythology. The architecture is rich with 
naturalistic carving, and the fireplace overmantle was designed to fit around 
this 18th-century mirror from the original house. This room perfectly captures the opulent and 
informed taste of the 3rd Marquis of Bute. The Purple Library isn’t just a reading room. 
It’s a sensory experience drenched in colour and luminescence. There are three libraries in 
the house, each named after a different colour. The room gets its name from the deep enveloping 
use of purple hues, creating an atmosphere that is both intimate and deeply dramatic. 
It was one of the last to be fitted out, only completed in 1912. With the outbreak of war 
in 1914, the fourth Marquis offered the house to the admiralty for use as a naval hospital. Its 
location on the Isle of Bute was considered ideal, far from the main theatre of war but close enough 
to the major medical centres in Glasgow and Edinburgh. The Purple Library became an X-ray 
room. The magnificent marble hall converted into a 50 bed hospital ward. Lady Bute herself 
took on the role of matron, undergoing nursing training to personally care for her patients. 
From 1914 to 1919, Mount Stuart treated 2,120 patients for a range of war injuries, 
trench diseases, and psychological trauma. The creation of the marble stairs underscores 
the extended timeline for rebuilding in the house. The main structure of the stairs 
was completed in 1884. The stained glass windows designed by Horatio Lonsdale arrived 
between 1890 and 92, the balcony in 1893, and the vaulted ceiling just one year 
before the third Marquis’ death in 1899. The three stained glass windows depict the 
three main titles of the family. On the left, the Earls of Dumfries. In the middle, 
the Marquisette of Bute on the right, the Earldom of Windsor. They are designed as a 
rose family tree because the third marchioness, Gwendoline, adored the rose. Within the arches 
are six exquisite circular panels illustrating the days of creation from the book of Genesis. Several paintings adorn the walls, including. a Sir Joshua Reynolds portrait of the third 
Marquis with his secretary Charles Jenkinson. Moving around the gallery gives us a 
chance to get another close-up look at the marble hall ceiling and stained glass windows. We can also appreciate the corridors of the 
gallery and the vault decoration for which Lonsdale was employed. 128 heads of female 
figures from various strands of mythology. The horoscope room takes its name from the ceiling 
dome, a painted map of the stars and planets at the exact time of the third Marquis’ birth on 
September 12th, 1847. The room’s designer, William Frame, consulted with the Cardiff astrologer, 
WC Jordan, to ensure the chart’s accuracy. Originally the Marquis’s sitting room or study, the room was later taken as a bedroom by 
the sixth Marquis. During the 1980s revamp,  Pluto, discovered after the original chart was 
painted, was added to the ceiling map. Today,  the room is often used as a bridal 
suite for weddings at Mount Stuart. This incredible medieval-inspired bed is adorned 
with two characters from medieval fables. The fox is called Reynard, a wily trickster hero, and Grimbard, the badger, loyal and supportive. This glass enclosed space was reportedly used by 
the third Marquis as an observatory reflecting his passion for astrology and gazing at the 
night sky which complemented the astrological theme of the adjacent room. During World War I, 
the conservatory was repurposed as the operating theatre. Its large glass structure provided 
excellent natural lighting, which was vital for carrying out surgical procedures. The horoscope 
room itself served as the hospital’s pharmacy. The ensuite bathroom was fitted with a 
flushing toilet and an early shower. In fact, it was also the first house in Scotland to be 
purpose-built and wired for electric light as part of the original design, long before 
electricity was common in private homes. It incorporates a sophisticated central 
heating system throughout the mansion and an early telephone system. The house was 
at the cutting edge of Victorian design. This was the bedroom of the third Marquis and 
his wife, Gwendoline, whom he married in 1872. The room was initially fitted out in the 1880s, 
directed by William Frame and the house carpenter Dan McFarlane. However, it was restored in the 
early 1990s. A frieze around the room that we didn’t do a good job of capturing depicted scenes 
from the life of St. Margaret, the 11th-century Scottish Queen. Lord Bute believed he was a 
direct descendant. It was painted by Lonsdale. The ceiling is full of heraldic 
shields representing the marriage of the Bute family all the way back to 
the first sheriff of Bute in the 14th century. Each shield is symbolically 
linked by a rope carved in wood. The ceiling was made in Cardiff and 
then brought to the house. Lonsdale also designed the woven coat of arms as 
the centrepiece for the bed decoration. The furniture includes pieces designed by 
Byzantineist Robert Weir Schultz, who was commissioned by the fourth Marquis. These items 
were manufactured at the Bute workshop in Cardiff. Our final room on the tour is 
the Lady Bute bedroom which was originally her sitting room designed 
by frame, with architect Burgess. Having a rosy feel, the wall 
coverings are an original feature. Charles Campbell decorated the decorative 
ceiling of gold ornaments upon cedarwood. I do like the individual bell 
pushes for calling the servants. Having toured the house, let’s leave 
through what I believe are the servant stairs and exit the property. 
See what that weather is doing. Well, we’ve had to come back to the car. The 
rain is not letting up. It is really heavy, and we’re not going to be able to 
show you a walk around the gardens, unfortunately. Just too much rain going on 
and the forecast is for that for at least the next couple of hours. So, we’ll go and 
explore in the car and see what we can find. From Mount Stuart, we decided to head south 
towards Kilchattan Bay and follow a loop of the southern part of the island 
before returning to catch the ferry. Kilchattan Bay is a small, peaceful village with a wide sandy crescent often 
called the “Wee Bay” by locals. Framed by handsome Victorian villas, it’s a beautifully sheltered spot facing 
east towards the Firth of Clyde. While the beach is now home to peaceful sailing and 
strolling, it once buzzed with activity. The bay is named after St.Cathan, an Irish 
bishop who settled here in the sixth century. Many centuries later, it became a bustling port 
with its own tileworks and regular steamers, bringing holidaymakers from Glasgow right up until 
the mid-20th century. Apparently, it’s an ideal base for walkers and explorers, and the village marks the starting point for the West Island Way. We stopped briefly at Scalpsie Bay, an area 
famous for its resident colony of seals and panoramic views. You need to walk down near 
the shore if you want to see the seals, which we didn’t risk due to 
the continuous downpours. Jumping out quickly, we also stopped at 
Ettrick Bay South to take in the view. As we were completing the loop, 
which would take us back to Rothesay, we noticed a church without a 
roof that needed investigating. This was the North Bute Parish Church, St.Colmac’s Church, a neo-Gothic church originally built around 1836 and serving the northern part 
of the island. After a series of church unions and dwindling attendance, it eventually closed 
its doors in 1980 due to depopulation and a lack of funds for maintenance. The church roof 
is missing due to a deliberate decision. This action was taken for administrative and financial 
reasons. Legally, a building classified as a ruin, (which the removal of the roof ensured), is 
exempt from certain taxation and maintenance regulations that a disused yet roofed 
structure would still be subject to. You may have noticed that the 
weather was also finally improving, but it was all too late as we needed to catch our 
pre-booked ferry back to the Scottish mainland. Well, we’ve just boarded the ferry, so it can 
only mean one thing. It’s the end of the video as we go back to the mainland. So, thanks so much 
for watching. Hope you enjoyed our Bute videos, and we’ll see you again on another 
video very soon. Do subscribe if you haven’t done so yet. Take care. Thanks 
for watching. All the best. Bye-bye.

Get ready to journey to a place where Victorian Gothic grandeur meets cutting-edge 19th-century luxury! You might think you know historic houses, but trust us, you’ve never seen anything quite like Mount Stuart.

Our video takes you inside and around Mount Stuart, the extraordinary former home of the Marquesses of Bute, which is now one of the most significant and lavishly decorated houses in the British Isles. This house is a testament to the visionary—and slightly eccentric—Third Marquess of Bute, John Crichton-Stuart. He poured his passion for astrology, botany, and medieval history into creating this symbolic structure. This house is literally built to reflect the heavens! Explore the unique fusion of Catholic, Masonic, and astrological motifs at Mount Stuart.

The story begins with a fire in 1877. From those ashes, the Third Marquess and architect Robert Rowand Anderson built a revolutionary palace. It was a technological pioneer in the late 1800s, one of the first houses in Scotland to be purpose-built with electric wiring, beating even Buckingham Palace to consistent illumination!
It featured an early form of central heating and a remarkably sophisticated ventilation system.

The magnificent 80-foot Marble Hall dome is painted with constellations, reflecting the Marquess’s deep interest in the cosmos. Forget your typical historic house visit; Mount Stuart is an experience.

The Marble Chapel is entirely clad in white, pink, and grey marble. This stunning space features a floor mosaic representing the constellations. It is one of the most beautiful private chapels ever constructed.

Explore 300 acres of diverse, award-winning gardens, including a Pinetum and arboretum, all set against the stunning coastal views of the Firth of Clyde. (Sadly, the weather was not good on our trip, so the garden tour was minimal.)

Every room is filled with symbolic detail, providing a fascinating insight into the mind of its visionary creator.

Don’t just read about history—walk through it! The extravagance, the vision, and the sheer audacity of Mount Stuart make it an unparalleled destination.
More details can be found here: www.mountstuart.com

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00:00 Overview of Mount Stuart
00:39 Previously in Rothesay
01:06 Getting to Mount Stuart
02:11 Building Mount Stuart & Family History
05:18 Gardens ( Limited Due to Weather)
05:45 Inside Mount Stuart
06:34 Marble Hall
08:35 Marble Chapel
10:32 Dining Room
11:54 Drawing Room
13:06 Purple Library
14:19 Marble Staircase
16:24 Gallery
17:11 Horoscope Room & Conservatory
19:04 Bathroom
19:33 Family Bedroom 3rd Marquis
20:46 Laby Bute Room
22:41 Exploring South Isle of Bute

#isleofbute #mountstuart #visitscotland