House of Dun

Montrose, United Kingdom

The Dun Estate was home to the Erskine (later Kennedy-Erskine) family from 1375 until 1980. John Erskine of Dun was a key figure in the Scottish Reformation. The current house was designed by William Adam and was finished in 1743. There is elaborate plaster-work by Joseph Enzer, principally and most elaborately in the saloon. The house replaced the original 14th century Tower House to the west when David Erskine, Lord Dun, the 13th Laird of Dun, an Edinburgh lawyer appointed Lord of Justiciary in 1710, wanted a more comfortable and prestigious home. He opposed the union. 

It continued as the home to the Erskines for a further 250 years, undergoing some internal re-modeling when Lady Augusta Fitzclarence, natural daughter to William IV (previously the Duke of Clarence) and his long term mistress, Dora Jordan, married the Honourable John Kennedy Erskine, heir to the property through his mother Margaret Erskine of Dun. When they married they moved to the property and Augusta set about making several alterations, modernizing the property. The writer and poet Violet Jacob (1863 - 1946), author of 'Flemington' and 'Tales of Angus', was a member of the Kennedy-Erskine family and was born in the house. The last Laird of Dun was Mrs. Millicent Lovett. She moved out of the house to an estate house 'temporarily' in 1948, moving all the furnishings and artifacts up into the attic. The rest of the house was leased to a local farming family who ran it as a bed and breakfast establishment for many years.

Millicent never returned to the house and on her death in 1980 it was bequeathed by her to the National Trust for Scotland. The Trust discovered all the original furnishings in the attic and spent 9 years returning the house to the state it had been in at the time of Augusta. In 1989 the house opened to the public, the Queen Mother presiding to mark the tercentenary of William Adam's death.

The adjacent Montrose Basin nature reserve, part of the estuary of the South Esk, is also a National Trust for Scotland property.

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Address

Montrose, United Kingdom
See all sites in Montrose

Details

Founded: 1743
Category: Palaces, manors and town halls in United Kingdom

More Information

en.wikipedia.org

Rating

4.5/5 (based on Google user reviews)

Interesting Sites Nearby


Brechin Cathedral (7,4 km)
Dunninald Castle (6,5 km)
Brechin Castle (7,2 km)
Kinnaird Castle (4,5 km)


McManus Gallery (39,7 km)
St Mary's Tower & Church (40 km)
St Andrews Cathedral (45,9 km)
The Howff (39,8 km)
St Andrews Castle (45,7 km)
Dunnottar Castle (31,9 km)
King's College (55,2 km)
Holy Trinity Church (46 km)
Crathes Castle (37,4 km)

User Reviews

Mark Graham (3 months ago)
Whilst the property itself is currently closed due to Covid-19, the garden and grounds are open and was nice to have a stroll around today and enjoy the autumn colours.
Douglas Young (4 months ago)
The car parks, gardens and woodland walks are all OPEN, the NTS website and road signs all simply say "property closed", but it's only the house which is closed. Surely someone could correct this as only local knowledge meant we visited this place twice last week.
Mark Chamberlain (2 years ago)
What really makes this property is the grounds and events that they hold throughout the year. Don't get me wrong the house is a gem for the period and much effort has been spent making the tour as interesting as possible but the property comes into its own outside whether it be the mausoleum or the vegetable gardens. The walk around is lovely and there is a small obstacle course and picnic area. Well worth a visit if in the area or perhaps travelling to if nearby!
Chris F (2 years ago)
Lovely "small" country house. Gardens lovely even in autumn. Guided tour of largely intact family home excellent. Plenty of outdoors to explore. I am pleased we stopped by.
Paul Goodison (2 years ago)
Lovely example of a Georgian House with an excellent guided tour highlighting little gems about how the family lived and their connection bro the Royal family. Watch out for the tour times as they were one an hour and several were full meaning waits for others. We were lucky and had a 40min wait. Tea room had great food and lovely cakes. Gardens looked lovely even in heavy rain.
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From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.

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