1 Colvin, Howard M., ‘A Scottish Origin for English Palladianism’, Architectural History, 17 (1974), pp. 5–52.CrossRefGoogle Scholar

2 Howard, Deborah, Scottish Architecture: Reformation to Restoration, 1560–1660(Edinburgh, 1995), p. 2.Google Scholar

3 The only serious study is Friedman, Terry, ‘Nost at Bothwell’, Church Monuments, 2 (1987), pp. 22–32 Google Scholar, which, as its title suggests, does not explicitly focus on James Smith.

4 Marshall, Rosalind K., The Days of Duchess Anne: Life in the Household of the Duchess of Hamilton, 1656–1716, 2nd edn (East Linton, 2000).Google Scholar

5 Her official title was Duchess of Hamilton and Châtelherault, Marchioness of Clydesdale, Countess of Arran and Cambridge, and Lady Aven, Polmont, Machanshire, and Innerdale.

6 Marshall, , The Days of Duchess Anne, p. 25.Google Scholar

7 Ibid., p. 28.

8 Colvin, , ‘A Scottish Origin for English Palladianism’, p. 8.Google Scholar

9 The Scots College Rome, ed. Scots College (London, 1930), p. 113 Google Scholar; OSB, Mark Dilworth, ‘Beginnings 1600–2000’, in Scots College, Rome: 1600–2000, ed. McCluskey, Raymond (Edinburgh, 2000), pp. 19–43 (P. 30)Google Scholar; and Colvin, , ‘A Scottish Origin for English Palladianism’, p. 10.Google Scholar

10 Roberts, Alasdair, ‘James Smith and James Gibbs: Seminarians and Architects’, Architectural Heritage, 2 (1991), pp. 41–55 (p. 48).CrossRefGoogle Scholar

11 Smith’s potential Catholicism has been a subject of debate for historians. Roberts (‘James Smith and James Gibbs’) suggests that Smith remained a closet Catholic. The latest edition of Colvin’s, Howard A Biographical Dictionary of British Architects, 1600–1840,(New Haven and London, 2008), p. 951 Google Scholar, argues similarly, but the previous edition (New Haven and London, 1995), p. 893, cites the account of the Scots College which suggests that Smith ‘left with permission and promising to return, but became an apostate’.

12 Roberts, , ‘James Smith and James Gibbs’, p. 46.Google Scholar

13 Ibid., p. 50.

14 ‘19th February 1715’, in Extracts from the Records of the Burgh of Edinburgh, Vol. 9:1701–1718, ed. Armet, Helen (Edinburgh, 1967), pp. 280–83 (p. 283)Google Scholar

15 Colvin, , ‘A Scottish Origin for English Palladianism’, p. 10.Google Scholar

16 Edinburgh, National Register of Archives for Scotland, NRAS332/f/2/591, Building contract between the third Duke and Duchess of Hamilton on one part and Mr James Smith and James Smith on the other, for the west quarter of Hamilton Palace, 1696–99.

17 Marshall has suggested that there is ‘good reason’ to think that James Smith was responsible for the remodelling of Kinneil. (See Marshall, Rosalind K., ‘Scarce a Finer Seat in Scotland: Kinneil Castle and the 4th Duke of Hamilon’, in Scottish Country Houses 1600–1914, ed. Gow, Ian and Rowan, Alistair (Edinburgh, 1995), pp. 35–43.Google Scholar) This would place him in the employment of the Hamiltons from the very outset of his career and throws doubt on the dates of his training, which undermines the more probable biographical information known of him.

18 Marshall, , ‘Scarce a Finer Seat in Scotland’, p. 38.Google Scholar

19 Marshall, , Days of Duchess Anne, p. 195.Google Scholar

20 James Macaulay, , ‘The Seventeenth-Century Genesis of Hamilton Palace’, Aspects of Scottish Classicism: the House and its Formal Settings, 1690–1750, ed. Frew, J. and Jones, D. (St Andrews, 1989), pp. 17–25 (p. 19).Google Scholar

21 Adam, William, Vitruvius Scoticus; Being a Collection of Plans, Elevations, and Sections of Public Buildings, Noblemen’s and Gentlemen’s Houses in Scotland (Edinburgh, 1750), pl. 6 Google Scholar: ‘The ground Plan of Hamilton House and Offices as they now are’.

22 For information on the art of the Hamiltons there are several useful articles, each documenting the collection under a different generation of the dukedom. An early account can be found in Shakeshaft, Paul, ‘“To Much Bewiched with Thoes Intysing Things”: The Letters of James, Third Marquis of Hamilton and Basil, Viscount Feilding, Concerning Collecting in Venice 1635–1639’, Burlington Magazine, 25.3 (1986), pp. 114–32Google Scholar. Another excellent resource is the pilot website, Virtual Hamilton Palace Inventories Project, Virtual Hamilton Palace, http://www.vhpt.org/ (accessed on 27 March 2012), and an upcoming book by Geoffrey Evans which promises to explore the fascinating Napoleonic obsession of the tenth duke and how this manifested itself in his art collecting.

23 Edinburgh, National Register of Archives for Scotland, NRAS332/f /2/591, Building contract between the third Duke and Duchess of Hamilton on one part and Mr James Smith and James Smith on the other, 1696–99.

24 Fleming, John, Robert Adam and his Circle in Edinburgh and Rome (London, 1962), p. 68.Google Scholar

25 In his book, The Scottish Chateau: The Country House of Renaissance Scotland(Stroud, 2001)Google Scholar, Charles McKean argues that the castellated appearances of the many Scottish Renaissance buildings were not baronial towerhouses of the kind used for defence in the turbulent medieval political landscape, but rather their appearance sought to emulate this nostalgic historical ideal as a symbol of heritage.

26 After completion of Holyrood House, Bruce received numerous commissions for ‘Classical’ houses,including Moncreiffe (1680) for the first Marquis of Atholl, and Balcaskie (1668–74) and Kinross (1679–93) for himself.

27 Ottenheym, Konrad, ‘Dutch Influences in William Bruce's Architecture’, Architectural Heritage, 18.1 (2007), pp. 135–49CrossRefGoogle Scholar, suggests that Holyrood was modelled after Maastricht Town Hall which also shows the stacked superimposition of Classical orders (p. 142).

28 For a Dutch comparison, see Dalkeith Palace, which was modelled after William of Orange's palace, Het Loo.

29 Macaulay, James, The Classical Country House in Scotland 1660–1800 (London, 1987), p. 38.Google Scholar

30 Dunbar, John G., The Architecture of Scotland, 2nd rev. edn (London, 1978), p. 85.Google Scholar

31 McKean, , The Scottish Chateau; Charles Wemyss, ‘A Study of Aspiration and Ambition: The Scottish Treasury Commission and its Impact upon the Development of Scottish Country House Architecture, 1667–1682’ (doctoral thesis, University of Dundee, 2008).Google Scholar

32 Marshall, , Days of Duchess Anne, p. 85.Google Scholar

33 Patricia E. C. Croot, , ed., ‘Landownership: Chelsea Manor’, A History of the County of Middlesex, 12: Chelsea (Woodbridge, 2004), pp. 108–15.Google Scholar

34 Marshall, , Days of Duchess Anne, p. 194.Google Scholar

35 Rosalind Marshall, ‘The House of Hamilton in its Anglo-Scottish Setting in the Seventeenth Century’, 7 vols (doctoral thesis, University of Edinburgh, 1970), v, no. 4140.Google Scholar

36 Macaulay, , ‘The Seventeenth-Century Genesis of Hamilton Palace’, p. 19 Google Scholar. Entry for Smith, James in A Biographical Dictionary of Sculptors in Britain, 1660—1851, ed. Roscoe, Ingrid (London, 2009), p. 914.Google Scholar

37 Marshall, , Days of Duchess Anne, p. 194.Google Scholar

38 Rosalind K. Marshall, ‘Hamilton, James, fourth duke of Hamilton and first duke of Brandon (1658–1712)’, Oxford Dictionary of National Biography, online at http://www.oxforddnb.com/view/article/7898 (accessed on 13 April 2012).

39 Macaulay, , Classical Country House in Scotland, p. 24.Google Scholar

40 Macaulay has, however, shown that Smith used Le Muet's designs in the horseshoe staircase at Drumlanrig Castle in the 1680s. (See Macaulay, , Classical Country House in Scotland, p. 27.Google Scholar)

41 See Chatenet, Monique, ‘The Paper Houses of Jacques Androuet du Cerceau’, Architectural Heritage, 17 (2006), pp. 87–98 Google Scholar. For sources relating more specifically to Smith, his entry in the Biographical Dictionary of British Architects cites du Cerceau as the course of Smith's idiosyncratic roof flashings from his drawings ( Biographical Dictionary of British Architects, ed. Colvin, Howard, 4th edn (London, 2008)Google Scholar), and Wemyss, Charles, ‘Paternal Seat or Classical Villa? Patrick Smyth, James Smith and the Building of Methven 1678 to 1682’, Architectural History, 46 (2003), pp. 109–26CrossRefGoogle Scholar discusses du Cerceau in relation to Smith’s external aesthetics and internal arrangements.

42 Edinburgh, National Register of Archives for Scotland, NRAS332/f/2/591, Building contract between the third Duke and Duchess of Hamilton on one part and Mr James Smith and James Smith on the other, 1696–99.

43 Macaulay, , ‘The Seventeenth-Century Genesis of Hamilton Palace’, p. 18.Google Scholar

44 Edinburgh, National Register of Archives for Scotland, NRAS332/f / 2/591, Building contract between the third Duke and Duchess of Hamilton on one part and Mr James Smith and James Smith on the other, 1696–99.

45 Edinburgh, National Register of Archives for Scotland, NRAS2171/Bundle 825, ‘Letters 1693, etc.’, seventeenth century.

46 The relationship and rivalry between Bruce and Smith is discussed in Lowrey, John, ‘Sir William Bruce and his Circle at Craigiehall: 1694–1708’, Aspects of Scottish Classicism: The House and its Formal Settings, 1690–1750 (St Andrews, 1989), pp. 1–8.Google Scholar

47 John Gifford, ‘Historical Account of Melville House’, in Historic and Architectural Information Relating to Melville House, Arc Chartered Architects, at http://www.arc-architects.com/downloads/Melville-House-Historical-Information-Abridged.pdf (accessed on 23 February 2012).

48 Colvin, , ‘A Scottish Origin for English Palladianism’, p. 10.Google Scholar

49 Stewart, Margaret C. H., ‘The Earl of Mar and the Scottish Baroque’, Architectural Heritage, 9.1 (1998), pp. 16–30 (p. 26).CrossRefGoogle Scholar

50 Colvin, ‘A Scottish Origin for English Palladianism’, and Macaulay, Classical Country House in Scotland.

51 Macaulay, , ‘The Seventeenth-Century Genesis of Hamilton Palace’, p. 38.Google Scholar

52 Edinburgh, National Register of Archives for Scotland, NRAS/f/1/667, Accounts (16) for timberwork, plasterwork, wrightwork and painting done in the new buildings at Hamilton Palace, 1694–1702.

53 Edinburgh, National Register of Archives for Scotland, NRAS332/f/1/685, Contract (1) between the third Duchess of Hamilton and James and James Smith, for the building in Hamilton church of a monument to the third Duke: with a parchment draught of the monument's final appearance, dated 12 February 1696 at Holyroodhouse.

54 Colvin, , ‘A Scottish Origin for English Palladianism’, p. 9.Google Scholar

55 A Biographical Dictionary of Sculptors in Britain, 1660–1851, p. 914.

56 Howarth, David, ‘Sculpture and Scotland 1540–1700’, in Virtue & Vision: Sculpture and Scotland 1540–1990, ed. Pearson, Fiona (Edinburgh, 1991), pp. 27–44 (p. 29)Google Scholar

57 Gifford, J., McWilliam, C. and Walker, D., The Buildings of Scotland: Edinburgh (London, 1984), p. 47.Google Scholar

58 A memorandum of what James Smith had left to do for the palace from 1702 demonstrates the duchess’s financially expedient shortcuts, as she instructed that ‘the Cornish of the Gallery which is of plaister be painted of a wainscot Colour, which when well done will not be known from real wainscot’. Edinburgh, National Register of Archives for Scotland, NRAS2177/Bundle 2856, ‘Memorandum of what is to be done by Mr James Smith […] in and about ye palace of Hamilton’, 1702.

59 Marshall, , ‘The House of Hamilton’, v, no. HA4050.Google Scholar

60 Edinburgh, National Register of Archives for Scotland, NRAS332/f/1/657, Accounts and discharges (48) for building work done at Hamilton palace by Mr James Smith and Mr Smith, including accounts for the third duke's monument and a packet of draughts of the marble chimneys ordered from London by the third Duchess of Hamilton and sent down by the fourth duke, ‘but the chimneys are not made exact thereto as was ordered’, according to David Crawford’s endorsement, dated at Hamilton, 1693–1702.

61 Friedman, ‘Nost at Bothwell’, 1987.

62 There was a tradition of London-based sculptors contracted to complete works for Scottish clients. Arnold Quellin had agreed to complete four statues for Glamis Castle in 1685, the year before his death. His mentor, Grinling Gibbons, had also undertaken work in Scotland, as discussed. For more information on Glamis, see Apted, M. R., ‘Arnold Quellin's Statues at Glamis Castle’, The Antiquaries Journal, 64 (1984), pp. 53–61.CrossRefGoogle Scholar

63 Edinburgh, National Register of Archives for Scotland, NRAS332/f/1/657, Accounts and discharges (48) for building work done at Hamilton Palace by Mr James Smith and Mr Smith, 1693–1702.

64 Friedman, , ‘Nost at Bothwell’, p. 23.Google Scholar

65 van Campen, Jacob, Abfeelding van't Stadthuys van Amsterdam (Amsterdam, 1664).Google Scholar

66 That the engravings radiate from Nost's circle can be argued with some certainty: Nost was part of Arnold Quellin's — grandson of Artus I Quellinus — workshop; thereby creating a smooth series of connections between Amsterdam Town Hall and Hamilton. Nost's indebtedness to Quellin has never been studied in depth, and, though its implications are beyond the scope of the present article, this previously unrecognized source of motifs invites further research into Nost’s sculptural output.

67 Edinburgh, National Register of Archives for Scotland, NRAS332 / f /1 / 685, Contract (1) between the third duchess of Hamilton and James and James Smith, for the building in Hamilton church of a monument to the third duke: with a parchment draught of the monument's final appearance, dated at Holyroodhouse, 12 February 1695/6.

68 Studio of Sir Godfrey Kneller, William Douglas, Third Duke of Hamilton in Garter Robes, c. 1682, formerly hanging in Hamilton Palace, South Lanarkshire, now at Lennoxlove House, East Lothian.

69 I am thankful to Ralph Moffat, Curator of European Arms and Armour at Kelvingrove Art Gallery and Museum, for his advice on Scottish seventeenth-century weaponry and weaponry that was imagined to be used in the Middle Ages.

70 Edinburgh, National Register of Archives for Scotland, NRAS2177/ drawing 62, Drawing of a decorated column and capital, Monochrome. Scale in.–1 ft 5 in. x 19½ in., attributed to Mr James Smith, 15 May 1696.

71 Nost's prices must have been considerably high as they provoked complaints on separate occasions from Thomas Coke of Melbourne Hall and Lord Ashburnham. (See A Biographical Dictionary of Sculptors in Britain, 1660–1851, p. 914 Google Scholar.)

72 Gowans, Alan, King Carter's Church (Victoria, 1969), p. 23.Google Scholar

73 MacKechnie, Aonghus, ‘Durisdeer Church’, Proceedings of the Society of Antiquities Scotland, 115 (1985), p. 431.Google Scholar

74 Friedman, , ‘Nost at Bothwell’, p. 23.Google Scholar

75 It is discussed briefly in Girouard, Mark, ‘Drumlanrig Castle: II’, Country Life, 128 (1 September 1960), p. 438.Google Scholar

76 Parry, Graham, The Arts of the Anglican Counter-Reformation: Glory, Laud and Honour (Woodbridge, 2006), p.99 Google Scholar

77 Fall, J., Memoires of my Lord Drumlanrig's and his Brother Lord William's Travells Abroad for the Space of Three Yeares Beginning September 13th 1680 (Edinburgh, 1931), p. 40.Google Scholar

78 Parry, , Arts of the Anglican Counter-Reformation, p. 99.Google Scholar

79 The link is suggested by Colvin, , Biographical Dictionary, 4th edn, p. 951.Google Scholar For contemporary suspicions of Smith's faith, see Roberts, , ‘James Smith and James Gibbs’, p. 45.Google Scholar

80 I am thankful to Cristina Gonzalez-Longo, who has suggested this shape might be inspired by the thirteenth-century cloisters of San Paolo Fuori le Mura, which Smith would have seen whils studying at the Scots College.

81 Friedman, , ‘Nost at Bothwell’, p. 29.Google Scholar

82 Virtual Hamilton Palace Trust, online at http://www.vhpt.org/ (accessed on 19 April 2012).

83 Colvin, , ‘A Scottish Origin for English Palladianism’, p. 10.Google Scholar