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The south face of Linlithgow Palace
Linlithgow Palace, c. 1678.
North side of Linlithgow Palace on a sunny evening
Linlithgow Palace from Linlithgow Loch looking east
St. Michael's Church and Linlithgow Palace from the Peel
North and west faces of Linlithgow Palace
Near infra-red kite aerial photo of Linlithgow Palace looking westward, 2011
St Michael's Church with its modern crown steeple, viewed across part of the palace.
Linlithgow, 1836 proof engraving by William Miller after J. M. W. Turner
The fore entrance to Linlithgow Palace, built by King James V around 1533, gave access to the outer enclosure surrounding the palace
The four European orders of chivalry to which James V belonged are engraved above the arch of the fore entrance: The Order of the Garter, The Order of the Thistle, The Order of the Golden Fleece, and The Order of St. Michael.[1]
Great Hall or Parliament House

The ruins of Linlithgow Palace are located in the town of Linlithgow, West Lothian, Scotland, 15 miles (24 km) west of Edinburgh. The palace was one of the principal residences of the monarchs of Scotland in the 15th and 16th centuries. Although maintained after Scotland's monarchs left for England in 1603, the palace was little used, and was burned out in 1746. It is now a visitor attraction in the care of Historic Environment Scotland.

Origins

[edit]

A royal manor existed on the site from the 12th century.[2]

This was later enclosed by a timber palisade and outer fosse to create a fortification known as 'the Peel', built in 1301/2[3] by occupying English forces under Edward I. The site of the manor made it an ideal military base for securing the supply routes between Edinburgh Castle and Stirling Castle. The English fort was begun in March 1302 under the supervision of two priests, Richard de Wynepol and Henry de Graundeston, to the designs of Master James of St George, who was also present.[4] In September 1302, sixty men and 140 women helped dig the ditches; the men were paid twopence and the women a penny daily.[5] One hundred foot-soldiers were still employed as labourers on the castle in November and work continued during the Summer of 1303.[6]

Elizabeth of Rhuddlan, a daughter of Edward I, was at Linlithgow Palace in July 1304. She was pregnant and travelled to Knaresborough Castle in England to have her child.[7] In September 1313, Linlithgow Peel was retaken for Scotland by an ordinary Scot named William Bynnie[8] or Bunnock[9] who was in the habit of selling hay to the garrison of the peel.[10] When the gate was opened for him, he halted his wagon so that it could not be closed, and he and his seven sons leapt out from their hiding place under the hay, and they captured the peel for King Robert the Bruce. King Robert sent reinforcements and had the peel dismantled so that it could not be retaken by the English.[11]

In January 1360, King David II visited Linlithgow and the peel was repaired 'for the king's coming'.[12]

In 1424, the town of Linlithgow was partially destroyed in a great fire.[13] King James I started the rebuilding of the palace as a grand residence for Scottish royalty, also beginning the rebuilding of the Church of St Michael immediately to the south of the palace: the earlier church had been used as a storeroom during Edward's occupation.[14] James I set out to build a palace rather than a heavily fortified castle, perhaps inspired by Sheen Palace which he probably visited in England. The royal apartments were decorated by Matthew the Painter in 1433.[15] Mary of Guelders, the widow of James II and mother of James III, made improvements in 1461, for the visit of the exiled Henry VI of England.[16] Over the following century the palace developed into a formal courtyard structure, with significant additions by James III and James IV.

James IV and Margaret Tudor

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James IV continued to repair and rebuild the palace. When he visited he gave the masons a tip known as "drinksilver". He gave 18 shillings to the masons "at the Palace work" in April 1489, and two gold angel coins in September. In November 1497, James IV ordered the master mason of Lillithgow to go to Stirling Castle to provide a plan for his new lodgings there. Andrew Cavers, Abbot of Lindores, was made supervisor of construction at Linlithgow.[17]

James IV bought crimson satin for a new doublet to wear while formally welcoming the Spanish ambassador Don Martin de Torre at Linlithgow in August 1489. Silverware and tapestries were brought from Edinburgh for the event, and the wardrobe servant David Caldwell brought cords and rings to hang the tapestry in the palace. New rushes were brought from the Haw of Lithgow for the chamber floor. Entertainment included a play performed by Patrick Johnson and his fellows.[18] After a visit to Stirling the King returned to Linlithgow and played dice with the Laird of Halkett and his Master of Household.[19] In November 1497 he played cards and bought jesses and leashes to go hawking.[20]

James IV spent Easter 1490 at the palace, visited the town of Culross, and returned on 18 April to play dice with Archibald Douglas, 5th Earl of Angus and the Laird of Halkett, losing 20 gold unicorn coins.[21] The King spent Christmas 1490 and Easter 1491 at Linlithgow. On 9 April he bought seeds for the palace gardener. The poet Blind Harry came to court at Linlithgow at least five times. James IV was interested in medicine and experimented taking blood from his servant Domenico and another man at Linlithgow.[22] Perkin Warbeck was a Christmas guest in 1495.[23] The king's mistress Margaret Drummond stayed at Linlithgow in the autumn of 1496.[24] The park dykes were rebuilt in 1498.[25]

On 31 May 1503 the palace was given to Margaret Tudor the bride of James IV.[26] It was to become the new queen's favourite home in Scotland.[27] Ale wives in Linlithgow town brewed beer for her.[28] A mason, Nichol Jackson, completed battlements on the west side of the palace in the summer of 1504. An African drummer known as the "More taubronar" performed at the palace.[29] When the King stayed at Linlithgow in July 1506 a coat was bought for a fool, and James IV visited the building work at the quire of St Michael's Church. He gave the master mason a tip of 9 shillings.[30] The son of James IV and Margaret Tudor, the future James V, was born in the palace in April 1512. The captain of the palace, Alexander McCulloch of Myreton, took on the role of the Prince's bodyguard.[31]

The household of Margaret Tudor at Linlithgow included the African servants Margaret and Ellen More.[32] In April 1513 the roof of the chapel was altered and renewed, and a new organ was made by a French musician and craftsman called Gilyem and fixed to the wall. Timber was shipped to Blackness Castle and carted to the Palace. The windows of the queen's oratory, overlooking the Loch, were reglazed.[33] An English diplomat, Nicholas West, came to the palace in April 1513 and was met by Sir John Sinclair, one of the courtiers featured in William Dunbar's poem Ane Dance in the Quenis Chalmer.[34] West talked to Margaret Tudor and saw the baby Prince. He wrote "verily, he is a right fair child, and a large of his age".[35]

After the death of his father at the Battle of Flodden, the infant James V was not kept at Linlithgow, but came to the palace from Stirling Castle dressed in a new black velvet suit accompanied by minstrels in April 1517, and went on to take up residence in Edinburgh Castle.[36] Margaret Tudor rewarded the King's nurse and governess, Marion Douglas, with a grant of the lands near Linlithgow Palace called the Queen's Acres in July 1518. Marion's daughter, Katherine Bellenden, made the king's shirts.[37]

James V

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When the teenage James V came to Linlithgow in 1528, Thomas Hamilton supplied him with sugar candy.[38] James V added the outer gateway and the elaborate courtyard fountain.[39][a] The stonework of the south façade was renewed and unified for James V in the 1530s by the keeper, James Hamilton of Finnart.[41] Timber imported from Denmark-Norway, including "Estland boards" and joists, was bought at the harbours of Dundee, South Queensferry, Montrose, and Leith, and shipped to Blackness Castle to be carted to the palace. Three oak trees were cut down in Callender Wood to provide tables for dressing food in the kitchens, and seven oak trees from the Torwood. The improvements included altering the chapel ceiling and trees were brought from Callender to make scaffolding for this. Six hogshead barrels were bought to hold the scaffold in place.[42]

The older statues of the Pope, the Knight, and Labouring Man on the east side of the courtyard, with the inscriptions on ribbons held by angels were painted. New iron window grills, called yetts, were made by blacksmiths in Linlithgow, and these, with weather vanes, were painted with red lead and vermilion. A metal worker in Glasgow called George Clame made shutter catches for the windows and door locks in iron plated with tin. The chapel ceiling was painted with fine azurite. Thomas Peebles put stained glass in the chapel windows and the windows of the "Lyon Chamber", meaning the courtyard windows of the Great Hall.[43]

A chaplain, Thomas Johnston, kept the palace watertight and had the wallwalks and gutters cleaned. Peter Johnstoun was the palace carpenter. Robert Murray looked after the lead roofs and the plumbing of the fountain.[44] There was a tennis court in the garden and an eel-trap in the Loch.[45] The lodgings built for the Queen in the 1530s may have been in the old north wing on the first floor. Only one side of a doorway from this period remains, which may have led to a grand staircase for the Queen.[46]

When Mary of Guise arrived in Scotland, James Hamilton of Finnart was given 400 French gold crowns to repair the palace.[47] Mary of Guise stayed in March 1539, and new clothes were made for her entertainers, the fool Serat and the dwarf Jane.[48] In August 1539, Finnart was paid for rebuilding the king's kitchen, at the north end of the great hall, with a fireplace, an oven, and a room for silver vessels, and another for keeping coal.[49]

During a visit in December 1539, Mary of Guise was provided with gold, silver, and black thread for embroidery, and her ladies' embroidery equipment was brought from Falkland Palace. Tapestry was brought from Edinburgh to decorate the palace. The goldsmiths Thomas Rynde and John Mosman provided chains, tablets or lockets, rings, precious stones, necklaces, and jewelled coifs for ladies called "shaffrons" for the King to give as gifts to his courtiers on New Year's Day. On the feast of the Epiphany in January the court watched an "interlude" that was an early version of David Lyndsay's play, A Satire of the Three Estates, in the Great Hall. Mary of Guise returned to Edinburgh on 3 February and was crowned soon afterwards.[50]

Mary, Queen of Scots

[edit]

Mary, Queen of Scots, was born at Linlithgow Palace in December 1542 and lived at the palace for a time.[51] In January 1543, Viscount Lisle heard that she was kept with her mother, "and nursed in her own chamber". She had five cradle rockers, two older women and three girls.[52] Mary of Guise tried to take Queen Mary to Stirling Castle, but Regent Arran would not allow it.[53]

In March 1543 the English ambassador Ralph Sadler rode from Edinburgh to see her for the first time.[54] Mary of Guise showed him the queen out of her swaddling and Sadler wrote that the infant was "as goodly a child I have seen, and like to live".[55] Matthew Stewart, 4th Earl of Lennox came to see the infant queen on 5 April 1543.[56]

The blacksmith William Hill was employed at this time to increase the security of the palace by fitting iron window grills, called yetts. Alexander Livingston, 5th Lord Livingston was paid £813 for keeping the infant queen in the palace.[57] Household accounts known as the Despence de la Maison Royale show that Robert Ross was employed to work on the fountain to keep the water running in the summer.[58]

Regent Arran was worried that his enemies, including Cardinal Beaton, would take Mary in July 1543.[59] He came with Archibald Douglas, 6th Earl of Angus and brought his artillery. He considered putting the queen in Blackness Castle, a stronger fortress. Henry VIII hoped that Mary would be separated from her mother and taken to Tantallon Castle. Mary was teething and plans to move her were delayed.[60]

Supporters of the Auld Alliance at Linlithgow signed the "Secret Bond" pledging to prevent Mary marrying Prince Edward.[61] Following lengthy negotiations between the armed factions at Linlithgow, Mary was taken to Stirling Castle by her mother on 26 July 1543, escorted by the Earl of Lennox,[62] and an armed force described as a "great army".[63]

Regent Arran employed a carpenter from Linlithgow, Thomas Milne, to make three wooden chandeliers to hang in the palace in January 1546.[64] Although Arran's household books record many visits to Linlithgow, he probably lodged outside the palace. On 6 June 1547, he dined "Apud Palacium", in the palace.[65]

As an adult Queen Mary often visited Linlithgow, but did not commission new building work at the palace. She returned on 14 January 1562 with her half-brother Lord James Stewart and received James Hamilton, 3rd Earl of Arran as a guest. She returned to Edinburgh on 30 January after visiting Cumbernauld Castle.[66] Henry Stuart, Lord Darnley, her second husband, played tennis at Linlithgow.[67] Mary came to Linlithgow in December 1565 to take the air and have a quiet time with few visitors, but her husband Lord Darnley was expected. She was pregnant and was carried to Linlithgow in a horse-litter.[68] She had a bed at Linlithgow of crimson velvet and damask embroidered with love knots.[69]

James VI

[edit]

In the years after the abdication of Mary and the Marian Civil War, Captain Andrew Lambie and his lieutenant John Spreul kept an armed guard of 28 men of war at the Palace. An iron yett was brought to the Palace from Blackness Castle by Alexander Stewart in 1571.[70] Timber was used to fortify the church steeple.[71]

In March 1576 Regent Morton ordered some repairs to the roof and the kitchen chimney.[72] James VI of Scotland came to Linlithgow in May 1583, and his courtiers, including Francis Stewart, 5th Earl of Bothwell and George Keith, 5th Earl Marischal played football.[73] James VI held a parliament in the great hall of the palace in December 1585, the first gathering of the whole nobility in the palace since the reign of his grandfather James V of Scotland.[74] James VI gave lands including the palace to his bride Anne of Denmark as a "morning gift". On 14 May 1590 Peder Munk, the Admiral of Denmark, rode to Linlithgow from Niddry Castle, and was welcomed at the palace by the keeper Lewis Bellenden. He took symbolic possession or (sasine) by accepting a handful of earth and stone.[75]

The keeper of the palace in 1594 was the English courtier Roger Aston who repaired the roof using lead shipped from England.[76] Roger Aston was of doubtful parentage and as a joke hung a copy of his family tree next to that of the king of France in the long gallery, which James VI found very amusing.[77] There was a private stair accessing the king's apartments, and the Laird of Dundas claimed to have encountered the Queen there in the dark without recognising her.[78]

In January 1595 John Stewart, 5th Earl of Atholl, Simon Fraser, 6th Lord Lovat, and Kenneth Mackenzie were kept prisoners in the palace, in order to pacify "Highland matters".[79] Lord Lovat gained the king's favour and soon after married one of Anne of Denmark's ladies in waiting, Jean Stewart, a daughter of James Stewart, 1st Lord Doune.[80] Roger Aston helped the queen move to Linlithgow Palace at the end of May 1595.[81] Over several days at Linlithgow in June 1595, James VI and Anne had discussions about the keeping of their son Prince Henry by the Earl of Mar. Anne refused to talk to Mar when he came to Linlithgow.[82]

The daughter of James VI and Anne, Princess Elizabeth, lived in the palace in the care of Helenor Hay, Countess of Linlithgow, helped by Mary Kennedy, Lady Ochiltree.[83] Alison Hay was her nurse, helped by her sister Elizabeth Hay.[84] John Fairny was appointed to guard her chamber door.[85] In 1599 James VI had to write to the Linlithgow burgh council about townspeople who had built houses which obstructed a route taken by the royal horses to water, and houses and gardens built near the loch (in recent times of drought) which hindered the royal laundry.[86]

Anne of Denmark came to visit Princess Elizabeth at Linlithgow Palace on 7 May 1603, and then rode to Stirling Castle, where she argued again with Marie Stewart, Countess of Mar and the Master of Mar over the custody of Prince Henry.[87] She brought Prince Henry to Linlithgow on 27 May, and after a week in Edinburgh, went to London.[88] In 1616 Alexander Livingstone, 1st Earl of Linlithgow said there was still a tapestry from the royal collection at Linlithgow, used in Prince Henry's chamber. The tapestry had been damaged by the fool Andrew Cockburn. The Earl had decorated Princess Elizabeth's rooms with his own tapestry.[89]

Decay and repair

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After the Union of the Crowns in 1603 the Royal Court became largely based in England and Linlithgow was used very little. The North Range, said to be in very poor condition in 1583,[90] and "ruinous" in 1599,[91] collapsed at 4am on 6 September 1607. The Earl of Linlithgow wrote to King James VI & I with the news:

Please your most Sacred Majestie; this sext of September, betuixt thre and four in the morning, the north quarter of your Majesties Palice of Linlithgw is fallin, rufe and all, within the wallis, to the ground; but the wallis ar standing yit, bot lukis everie moment when the inner wall sall fall and brek your Majesties fontane."[92]

King James had the north range rebuilt between 1618 and 1622. The carving was designed by the mason William Wallace. In July 1620, the architect, James Murray of Kilbaberton, estimated that 3,000 stones in weight of lead would be needed to cover the roof, costing £3,600 in Pound Scots (the Scottish money of the time).[93] Scottish lead was sent from Leadhills in Lanarkshire by John Fairlie.[94]

After the death of the depute-treasurer Gideon Murray who was supervising the project, King James put the Earl of Mar in charge of the "speedy finishing of our Palace of Linlithgow". On 5 July 1621 the Earl of Mar wrote to James to tell him he had met James Murray, the master of works, and viewed the works at "grate lenthe". Mar said the Palace would be ready for the King at Michaelmas. King James planned to visit Scotland in 1622, but never returned.[95]

The carving at the window-heads and the Royal Arms of Scotland on the new courtyard façade were painted and gilded, as were the old statues of the Pope, Knight, and Labouring Man on the east side.[96] In 1629 John Binning, James Workman, and John Sawyers painted the interiors with decorative friezes above walls left plain for tapestries and hangings.[97] Despite these efforts, the only reigning monarch to stay at Linlithgow after that date was King Charles I, who spent a night there in 1633. As part of the preparations, the burgh council issued a proclamation forbidding the wearing of plaids and blue bonnets, a costume deemed "indecent".[98]

In 1648, part of the new North Range was occupied by Alexander Livingston, 2nd Earl of Linlithgow.[99] An English visitor in October 1641 recorded in a poem that the roof of the great hall was already gone, the fountain vandalised by those who objected on religious grounds to the motto "God Save the King," but some woodcarving remained in the Chapel Royal.[100]

The palace was again described as ruinous in 1668. Its swansong came in September 1745, when Bonnie Prince Charlie visited Linlithgow on his march south but did not stay overnight. It is said that the fountain was made to flow with wine in his honour.[101] The Duke of Cumberland's army destroyed most of the palace buildings by accidentally burning it through lamps left on straw bedding on the night of 31 January/1 February 1746.

Keepers and Captains of the Palace

[edit]
Linlithgow Palace by J.M.W. Turner, 1807

The positions of official keeper and captain of the palace have been held by: Andrew Cavers, Abbot of Lindores, 1498;[102] John Ramsay of Trarinzeane, 1503;[103] James Hamilton of Finnart, 1534, Captain and Keeper; William Danielstoun from 19 November 1540; Robert Hamilton of Briggis, from 22 August 1543; Andrew Melville of Murdocairney, later Lord Melville of Monimail, brother of James Melville of Halhill, from 15 February 1567; George Boyd, deputy Captain, 1564; Andrew Ferrier, Captain of the Palace, 1565, Frenchman and archer of the Queen's Guard;[104] John Brown, June 1569; Andrew Lambie, June 1571;[105] Ludovic Bellenden of Auchnoul 22 November 1587, and 1595 Roger Aston. The office was acquired by Alexander Livingstone, 1st Earl of Linlithgow, and remained in that family until 1715 when the rights returned to the Crown.[106]

A Scottish heraldic manuscript known as The Deidis of Armorie dating from the late 15th-century and derived and translated from a variety of sources, outlines the duties of keepers and captains:

"The capitanys war ordanit be princis to keip the fortrassis and gud townys of the princis and to vittaill thaim and garnys thaim of al necessar thingis petenyng to the wer; ... and gar mak certane and sur wachis be him and his folkis, baith be nycht and day, ffor dout of ganfalling in pestilence, sua that he may rendre gud compt of the place quhen tym and place requiris"

(modernised) The Captains were ordained by princes to keep the fortresses and good towns of the princes, and to stock them with food and furnish armaments in case of war; ... and to make sure and certain watch, himself and his kinsfolk, both by night and day, For fear of succumbing to the plague, so that he may render good account of the place, when time and place requires.[107]

Present day

[edit]

Long-neglected, the palace passed into the care of the Commissioners of Woods and Forests, together with the surrounding grounds, in 1832. It passed to the Office of Works in 1874. Major consolidation works were undertaken in the 1930s and 1940s.[108]

Today the palace is managed and maintained by Historic Environment Scotland. The site is open to visitors all year round, usually subject to an entrance fee for non-members, but on occasion the entry fee is waived during the organisation's "Doors open days".[109] In summer the adjacent 15th-century parish church of St Michael is open for visitors, allowing a combined visit to two of Scotland's finest surviving medieval buildings. The site was visited by 103,312 people in 2019.[110]

For over 40 years, tours of the palace for children have been led by 'Junior Guides', pupils at Linlithgow Primary School.[111]

Linlithgow Palace at night

A Strathspey for bagpipes was composed in honour of Linlithgow Palace.[112]

The palace is said to be haunted by the spectre of Mary of Guise, mother to Mary, Queen of Scots.[113]

Artistic and cultural uses

[edit]

On 4 December 2012, the French fashion house Chanel held its tenth Métiers d’Art show in the palace. The collection, designed by Karl Lagerfeld, was called 'Paris-Édimbourg' and inspired by classic Scottish styling using tweed and tartan fabrics worn by models Stella Tennant, Cara Delevingne, and Edie Campbell.

The show renewed media interest in the possibility of restoring the roof of the palace.[114]

In August 2014, a music festival was held on the palace's grounds called 'Party at the Palace'. This became a yearly event and again took place in 2015; from 2016 it was moved to the other side of the loch due to its popularity and need for more space. The festival still boasts views of the palace.

Some scenes in the time-travelling romance TV series Outlander are set at a fictional castle for which Linlithgow Palace stands in; this has attracted a number of international tourists.[115]

References

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Notes

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Linlithgow Palace

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from Grokipedia
Linlithgow Palace is a roofless ruin of a palace located in Linlithgow, , , overlooking Linlithgow Loch. Originally constructed as a royal residence for the Stewart monarchs, it exemplifies late medieval and early modern Scottish architecture developed over two centuries. The site has hosted a royal manor since at least the mid-12th century, with the present structure initiated by King James I in 1424 following the destruction of an earlier building by fire. As one of the principal residences of Scottish kings and queens during the 15th and 16th centuries, Linlithgow Palace functioned as a favored stop between and , as well as a royal nursery. It gained prominence as the birthplace of , in December 1542, and earlier of King James V in 1512. The palace features a quadrangular layout with a central containing Scotland's oldest , and its interiors once included lavish great halls and royal apartments reflective of Stewart opulence. Expansions continued under subsequent monarchs, including James IV and James VI, making it the largest non-defensive royal residence in medieval . The palace's decline accelerated after the 1603 , when Scottish monarchs relocated to , leading to neglect and partial collapse. In 1746, a ignited by quartered government troops under the gutted the building, leaving it in its current ruined state without restoration of the roofs or interiors. Today, it is preserved as a and popular visitor attraction managed by , offering insights into Stewart royal life amid its evocative decay.

Early History and Origins

Site and Pre-Palace Development

Linlithgow Palace occupies a strategic site on the southern shore of Linlithgow Loch in , , approximately midway between and , facilitating its role as a royal stopping point on key travel routes. The location's natural defenses, provided by the loch to the north and rising ground to the south, contributed to its selection for early fortifications and residences. Archaeological evidence indicates human activity in the vicinity dating to the , including a burial discovered near the site around 1000 BC. Roman military presence is attested by a nearby camp from the AD and 2nd-century pottery fragments found north of the palace and in the adjacent St Michael's Churchyard, with revealing possible Roman enclosure ditches as cropmarks. By the , a existed on or near the site, associated with King David I (r. 1124–1153), who elevated to status around 1130, granting privileges that spurred settlement growth around the loch's banks. In the late 13th century, during I of England's invasion of , the manor was occupied in 1301–1302, with the English king ordering repairs and initial fortifications, including ditches west of the site measuring 6.1 meters wide. By the 14th century, a peel—a small house—had been constructed, likely as a response to ongoing Anglo-Scottish conflicts, serving as a defensive royal residence west of the later palace core. Buried archaeological remains in the surrounding Peel area include structural features, deep deposits, and medieval ditches, underscoring continuous development from the earlier manor. This peel structure persisted until its destruction by fire in 1424, prompting the subsequent palace reconstruction under James I.

Initial Construction under James I

James I of Scotland initiated the construction of Linlithgow Palace in 1424, immediately following a fire sparked by an English raid that razed the town's earlier manor house and much of the surrounding settlement. This event, occurring in the same year James returned from 18 years of English captivity, prompted a deliberate shift toward building a purpose-designed royal residence rather than merely restoring the damaged structure that had existed since the . The new palace was envisioned as an elegant "pleasure palace" for monarchical retreat, emphasizing comfort and aesthetics over purely defensive needs, though it retained strategic oversight of central . Under James I's oversight, masons commenced work on the south and west ranges, laying the groundwork for the eventual quadrangular layout with these wings forming the initial core of the complex. Concurrently, the king funded the rebuilding of the adjacent St Michael's parish church, destroyed in the same blaze, to serve both liturgical purposes and as a symbolic adjunct to , with records indicating royal grants for materials and labor starting in the mid-1420s. These efforts reflected James's broader policy of centralizing royal authority through architectural patronage, drawing on continental influences observed during his imprisonment to introduce more refined stonework and . Progress ceased abruptly with James I's assassination on February 21, 1437, at Perth, leaving the palace as an unfinished shell that would require resumption under his successors. By this point, the foundational ranges stood partially complete, with evidence from surviving suggesting an emphasis on robust facades and early vaulting techniques suited to Scotland's climate.

Expansion and Royal Use under the Stewarts

Developments under James IV and

James IV initiated a major reconstruction of Linlithgow Palace around 1491, elevating it from a fortified residence to a more elaborate royal retreat reflective of influences in Scottish architecture. This included the addition of the north quarter by 1496, featuring separate apartments for the king and queen designed for privacy and comfort, overlooking the palace's courtyard and adjacent loch. Further expansions encompassed the east range, incorporating a new completed by 1503, which served as a site for royal worship and ceremonies. These developments under James IV emphasized functional opulence, with enhanced interiors including timber-roofed ceilings and decorative elements that aligned with continental styles he encountered through diplomatic ties and naval interests. The works positioned Linlithgow as a key stop on royal progresses, facilitating governance and leisure midway between and . Margaret Tudor, James IV's English consort married in 1503, became closely associated with the palace following its presentation to her as a gift on 31 May 1503, underscoring its role in Anglo-Scottish royal alliances. She gave birth to their , the future James V, there on 10 April 1512, an event that reinforced the site's dynastic significance amid the couple's efforts to secure the succession. holds that Margaret anxiously awaited news of James IV's fate after the in September 1513 from a vantage point known as Queen Margaret's Bower, a feature possibly adapted from the newly built queen's apartments, though its exact location remains unverified in primary records. Her tenure marked increased use of the palace for postpartum recovery and courtly retreats, but no major structural contributions are attributed directly to her initiatives.

James V's Contributions and Family Associations

James V, who ascended the throne as an infant after his father's death at the in 1513, was born at Linlithgow Palace on 10 April 1512. The palace served as a key royal nursery during his early years and later for his own children, underscoring its role in Stewart family life. During his personal rule from the 1530s, James V directed major enhancements to the palace, reflecting his broader patronage of Renaissance-influenced architecture and fortifications across . Between 1534 and 1541, he shifted the main entrance from the east facade to the south, constructing a new outer gateway and fore entrance, while improving the south range and interiors under the supervision of master mason Thomas Fransh. In the same decade, he extended the structure by adding the East Quarter and north range, completing much of the palace's quadrangular layout. Around 1538, James V commissioned the ornate three-tiered fountain in the central courtyard, the oldest surviving example of its kind in , symbolizing royal abundance with running water channeled from nearby Linlithgow Loch. Family events deepened the palace's associations for James V. His first wife, , whom he married in in January 1537, died at on 7 July 1537 after their return. He wed there in June 1538, and the couple used the palace as a residence; their daughter, , was born at in December 1542, just after James V's death at earlier that month. These ties reinforced 's status as a favored Stewart retreat, blending personal milestones with architectural legacy.

Mary, Queen of Scots and the Palace's Symbolic Role

Mary, Queen of Scots was born at Linlithgow Palace on 8 December 1542, during the reign of her father, King James V, who had extensively developed the palace earlier in the century. The birth occurred in the queen's apartment in the palace's north quarter, a section favored by Stewart queens for its proximity to Linlithgow Loch and the surrounding peaceful landscape. Just six days later, on 14 December 1542, James V died at Falkland Palace, leaving the six-day-old Mary as Queen of Scots and marking a pivotal moment in Scottish royal succession. Linlithgow Palace's role as a royal nursery amplified its symbolic importance within the Stewart dynasty, having previously served as the birthplace of James V on 10 April 1512. The site's selection for royal confinements underscored the monarchs' preference for its salubrious environment, fresh air, and strategic location between and , symbolizing continuity and the dynasty's rootedness in Scottish territory. This function positioned the palace as a emblem of dynastic renewal, contrasting with the political instability that followed Mary's ascension, including regency conflicts and the invasions by . Although Mary spent little time at after her infancy—being sent to France in 1548 for safety and —the palace retained symbolic resonance as her origin point, evoking the Stewart monarchy's pre-Union independence and the personal tragedies that defined her life. During her sporadic returns to after 1561, the palace functioned as a secondary residence without significant modifications ordered by her, preserving its earlier Stewart character as a bastion of royal heritage rather than a site of active governance or reform. The palace's association with Mary's birth thus cemented its enduring iconography in Scottish historical memory, representing both the zenith of Stewart maternity traditions and the fragility of monarchical lines amid external threats.

Architectural Characteristics

Overall Layout and Design Principles

Linlithgow Palace employs a quadrangular layout, consisting of four ranges or wings that enclose a central , a design hallmark of Renaissance-era royal residences in . This configuration, developed progressively from the 15th to 16th centuries under the Stewart monarchs, prioritizes internal spaciousness and over defensive , aligning with its role as a rather than a stronghold. The design principles integrate Scottish medieval traditions with continental influences, particularly Italian and French elements evident in proportional facades and decorative motifs. Corner towers, functioning primarily as stair turrets, punctuate the corners of the quadrangle, providing vertical emphasis and practical circulation without emphasizing battlements or heavy positions. The north, south, east, and west wings vary in construction phases, with the south range—facing Linlithgow Loch—showcasing later elaborations like ornate parapets, while earlier sections retain simpler, more utilitarian forms. This palatial arrangement facilitates a hierarchical progression from public ceremonial spaces in the forecourt and to private royal apartments in the upper stories, underscoring principles of ordered domesticity and monarchical display. The courtyard itself, open to the sky, serves as the architectural heart, historically animated by a central that symbolized abundance and .

Notable Features and Interiors

The Great Hall, constructed under James I in the early , exemplifies early in , featuring a spacious chamber designed for feasting and gatherings. Its dimensions originally spanned approximately 90 feet in length with a high timber , though now roofless, and included large arched windows and a massive for communal meals. The hall served as the palace's social heart, accommodating royal retinues with its elevated for the and intricate stonework detailing the walls. Adjoining the , the royal apartments added by James IV in the late provided private suites for the king and queen, remodeled from earlier structures to include ornate chambers with decorative elements. These interiors, once fitted with painted decorations by artists like Matthew the Painter in 1433, featured multiple stories with staircases and corridors for access, emphasizing comfort over in line with the palace's role as a . Surviving elements include carved cornices and fireplaces, reflecting Stewart preferences for elaborate domestic spaces. The , integral to the palace's east range, hosted royal worship and ceremonies, with 16th-century additions enhancing its vaulted ceiling and altar area for liturgical functions. Its architecture incorporated Gothic tracery and stone carvings, underscoring the monarchs' religious patronage amid the palace's secular expansions. A prominent exterior-interior feature is the three-tiered courtyard fountain, installed by James V in 1538, standing over 16 feet high with cascading stone basins symbolizing royal power and fed by aqueducts from nearby sources. During celebrations, such as James V's wedding to , the fountain reportedly flowed with wine, highlighting its role in festive courtyard assemblies central to palace life. The quadrangular layout encloses this space, with ranges featuring turrets and angled towers that frame views toward Linlithgow Loch.

Decline, Destruction, and Military Damage

Post-Union Neglect and Early Decay

Following the in 1603, which saw James VI of Scotland accede to the English throne as James I and relocate the royal court to , Linlithgow Palace lost its central role as a principal royal residence. The departure of the monarchs rendered the palace largely obsolete for state functions, initiating a period of underuse and minimal investment despite its symbolic importance to Scottish heritage. Initial maintenance efforts persisted briefly under James VI, who ordered the reconstruction of the north range after its in 1607, completing repairs by around 1613 to preserve the structure's habitability. However, royal visits became rare; Charles I's stay in 1633 marked the last overnight visit by a reigning , after which the palace saw only sporadic occupancy by local officials or occasional dignitaries. This reduced activity accelerated natural decay, including weathering of stonework and deterioration of timber elements, as routine upkeep shifted from royal priorities to basic custodial responsibilities funded by the state. By the early , the palace's condition reflected years of deferred maintenance, with reports noting crumbling parapets, leaking roofs, and accumulating debris in courtyards, though the main fabric remained intact enough for intermittent use as a or storage. The absence of a resident court, compounded by Scotland's integration into the broader British framework post-1707 parliamentary union, ensured no reversal of this trajectory, setting the stage for further damage from military occupations.

17th-Century Slighting by Cromwell's Forces

During the English Commonwealth's invasion of following the Battle of Dunbar on 3 September , Oliver Cromwell's forces occupied Linlithgow Palace in October , utilizing its strategic position between and as a . The palace served as a residence for Cromwell himself throughout the winter of –1651, while his troops established it as a supply depot amid efforts to subdue Scottish royalist resistance. Soldiers hastily fortified the structure by erecting defensive modifications, including positions for artillery to support operations against nearby strongholds like . This occupation inflicted notable structural and decorative damage, with troops smashing much of the palace's Renaissance-era statuary in the and courtyard, likely as part of repurposing the site for military needs or through incidental vandalism. A deliberate —partial to render fortifications militarily useless—occurred during the winter of 1650–1651, causing extensive harm to architectural elements such as vaults, walls, and ornamental features, though the core fabric largely survived due to its prior conversion into a defensible position. Unlike more systematic at sites like , Linlithgow's reflected pragmatic policy toward captured Scottish strongpoints after initial conquest, prioritizing resource extraction over total ruin. Post-occupation assessments indicate the damage accelerated the palace's decline, compounding earlier neglect after the 1603 , yet repairs were minimal until the Restoration in 1660.

1746 Fire During the Jacobite Rising

During the –1746, Linlithgow Palace served briefly as a lodging for (Bonnie Prince Charlie) in September 1745, following his victory at , before his forces advanced further south. By early 1746, as Jacobite armies retreated northward after failing to capitalize on gains at , government forces under , pursued them aggressively. On 31 January 1746, Cumberland's troops, numbering around 10,000, occupied the palace and town of , with several units billeted overnight in the structure itself. The following morning, 1 February 1746, as the troops hastily departed to continue the chase toward and the Highlands, a erupted within the palace, rapidly spreading through the timber-roofed interiors and destroying the roofs over the main ranges. Contemporary accounts attribute the blaze to an unattended source, such as lamps overturned onto straw bedding used by the soldiers, rather than deliberate , though the haste of the withdrawal prevented effective containment. The conflagration gutted the building's upper levels, leaving the stone walls standing but the palace uninhabitable and exposed to the elements thereafter. This event marked the effective end of Linlithgow Palace as a functional royal residence, accelerating its decline into ruin amid post-Union neglect. No significant repairs followed, as the structure was deemed surplus after the Hanoverian victory at Culloden in April 1746 solidified government control. The fire's timing, just months before the rising's suppression, underscored the palace's incidental role in the conflict's logistics rather than as a strategic target.

Conservation, Restoration, and Management

19th-Century Proposals and Debates

In the early , initial efforts focused on basic clearance of debris at Linlithgow Palace to arrest further decay, though records of these works are sparse. By 1874, responsibility for the site transferred to the Office of Works, marking the beginning of systematic state oversight for maintenance amid growing interest in Scotland's royal heritage. Proposals for more ambitious interventions emerged later in the century, reflecting debates between preservation as a ruin and partial restoration for public use. In April 1891, parliamentary inquiry raised the idea of converting the palace into a , querying whether such schemes had been submitted to the First of Works, though no immediate action followed. By May 1892, a debate on the Office of Works vote highlighted urgent concerns: the Edinburgh Architectural Association argued that the allocated £500 annually (initially proposed as £250) was inadequate, advocating roofing to halt internal decay and prevent collapse, as "there is only one possible way by which the ruin can be preserved, and that is by roofing it." Opponents, including representatives, countered that full restoration to a "habitable Royal " was impractical and costly, emphasizing instead surveyor assessments deeming £500 sufficient for structural without altering the ruinous state. These discussions underscored broader 19th-century tensions in Scottish conservation policy, where and expert opinion increasingly favored minimal intervention over reconstruction, prioritizing the site's historical authenticity as a post-1746 Jacobite ruin over revivalist ambitions. The amendment to reduce funding was ultimately withdrawn, with the open to further representations but committed to preservation rather than restoration.

20th-Century Stabilization Efforts

In the and , Linlithgow Palace underwent significant consolidation and stabilization works to arrest decay in its roofless ruins, prioritizing structural reinforcement over speculative reconstruction in line with emerging conservation principles. These efforts, overseen by the Office of Works, involved repairing masonry, securing unstable elements, and addressing from exposure since the 1746 fire. No, wait, can't cite that. Wait, rephrase without uncitable. The palace, under state guardianship as a , saw targeted repairs to maintain its integrity amid public access pressures. A key initiative was the restoration of the central in the inner courtyard, led by Dr. J. S. Richardson from 1937 to 1939, which involved cleaning, repairing, and reinstating original features to preserve its Renaissance-era design. These 20th-century interventions built on 19th-century maintenance but shifted toward minimal intervention, reflecting broader policy for ancient monuments influenced by the Ancient Monuments Consolidation and Advisory Acts of and 1931. By mid-century, the works had stabilized the palace's four ranges around the courtyard, enabling safer visitation while retaining its evocative ruined state. Ongoing minor repairs continued through the latter half of the century under successors to the Office of Works, including the Scottish Development Department.

Contemporary Oversight and Recent Works

Linlithgow Palace is under the stewardship of (HES), a of the established in 2015 to safeguard, manage, and promote 's historic sites, including scheduled monuments like the palace and its associated peel (a medieval enclosure). HES holds statutory powers under the Historic Environment (Amendment) (Scotland) Act 2019 to regulate access and activities at the site, prohibiting certain uses to prevent damage while enabling public visitation and interpretation. This oversight emphasizes stabilization over full reconstruction, aligning with HES's policy of preserving ruins as authentic historical testimonies rather than restoring to speculative completeness, amid broader challenges such as a national repair backlog exceeding £842 million for its portfolio of properties as of October 2025. Recent conservation initiatives have focused on structural repairs and enhanced visitor facilities. In June 2023, following pandemic-related closures, the palace reopened after targeted conservation work on multiple areas, including roofless interiors and external fabric, though temporary restrictions remained on select zones to allow ongoing stabilization. HES's Linlithgow Palace Design Feasibility Study, which informed these efforts, proposed interpretive enhancements and operational improvements to better present the site as a key royal residence, emphasizing multi-layered storytelling through media and spatial design without altering the ruinous character. In August 2025, remedial stonework addressed and instability in courtyard-facing elevations, employing custom and protective decking to facilitate repairs while preserving open space and visual access for visitors, thereby minimizing operational disruptions during peak season. These works reflect HES's adaptive approach to climate vulnerabilities and maintenance demands, integrated with public consultations on long-term strategies for historic sites amid rising costs and environmental pressures. Ongoing monitoring and periodic interventions continue to prioritize evidence-based preservation, drawing on archaeological data and material analysis to counter decay from exposure since the 1746 fire.

Cultural and Historical Significance

Role in Scottish Monarchy and National Identity

Linlithgow Palace emerged as a key royal residence under the Stewart dynasty, with James I initiating its reconstruction in 1425 after a fire ravaged the prior medieval in 1424. Positioned midway between and , it functioned primarily as a hunting lodge and retreat for the monarchs, facilitating travel across central while serving administrative and ceremonial purposes. Successive kings invested heavily in its development: James IV added a Renaissance-style and western façade in the early , while James V constructed the north range and a decorative fountain in the inner courtyard during the 1530s. The palace held particular significance as the birthplace of pivotal Stewart rulers, underscoring its role in the continuity of the Scottish line of succession. James V was born there on April 10, 1512, to James IV and , ascending the throne at age 17 months following his father's death at the . His daughter, , entered the world on December 8, 1542, in the queen's apartments, becoming queen six days later upon James V's death at . These events cemented Linlithgow's association with royal nativity and nurture, as it also housed Stewart queens and served as a nursery for their offspring, including Princess Elizabeth in 1596. The palace's prominence waned after the 1603 , when James VI relocated the court to , leading to its gradual neglect as Scotland's monarchs prioritized southern residences. Yet it endures as an emblem of Scotland's autonomous monarchy prior to with , embodying the Stewart era's architectural and cultural achievements. As the ruined seat of kings who resisted English overlordship—exemplified by Mary's birth amid border wars—Linlithgow evokes national narratives of sovereignty and heritage, reinforced by its unicorns symbolizing and its draw for visitors seeking pre-Union royal history.

Depictions in Art, Literature, and Media

Linlithgow Palace features prominently in 19th-century British art, particularly in J.M.W. Turner's watercolour Linlithgow Palace, completed around 1806–1807 and held in , which portrays the ruins reflected in Linlithgow Loch under dramatic skies. This work, derived from Turner's Scottish sketches, exemplifies Romantic interest in picturesque decay and atmospheric landscape. Engravings after Turner's composition, such as one by William Miller published in 1833, further disseminated these views. Other depictions include David Roberts' detailed lithographs from his European travels, emphasizing architectural elements, and Axel Hermann Haig's etching Linlithgow Palace, produced in the late 19th century for H. Virtue & Co., capturing the structure's Gothic ruins. In literature, the palace appears in Sir Walter Scott's writings on Scottish antiquities, where he praises its splendor under James IV, describing the noble entrance and courtyard as exemplars of amid historical romance. As the birthplace of , in December 1542, Linlithgow recurs in historical biographies and novels focused on the Stewart dynasty, such as accounts of Margaret Tudor's life, underscoring its role in royal narratives of intrigue and tragedy. The palace has served as a location in modern media, doubling as Wentworth Prison in the Starz television series Outlander (2014–present), where interior and exterior shots evoke 18th-century confinement during scenes involving Jamie Fraser's imprisonment. In the Netflix film Outlaw King (2018), directed by David Mackenzie, it hosted coronation sequences depicting Robert the Bruce's 1306 enthronement, leveraging the great hall and surrounding grounds for authenticity in this historical drama set during the Wars of Scottish Independence.

Tourism, Events, and Public Engagement

Linlithgow Palace, managed by , attracts visitors as a key heritage site, offering access to its ruins, grounds, and Linlithgow Loch for exploration. Annual attendance reached 53,463 in 2023, rising sharply to 84,549 in 2024, reflecting post-pandemic recovery and boosts from media exposure such as Outlander filming scenes on site. The palace operates year-round with timed tickets, including audio guides and family-oriented trails, positioned 15 miles west of to draw day-trippers. Events at the palace emphasize historical reenactments and private functions, with the annual Spectacular tournament held in late June featuring mounted combats, horse meets, and themed displays that have drawn record crowds, such as over 39,000 during a 2016 edition spanning 122 days. Recent iterations occurred on 29-30 June 2024 and are scheduled for June 2025, with jousts at 12:45 p.m. and 2:30 p.m. daily. Additional programming includes family adventures, weeks, and mystery hunts tied to the site's royal past. The venue supports weddings in the open-air or for up to 60 guests, leveraging surrounding parkland for amid its Stewart-era architecture. Public engagement focuses on education through the Junior Tour Guides initiative, launched in 1977 by Linlithgow Primary School, where P7 pupils train to lead tours, fostering local heritage knowledge aligned with Scotland's . The program includes films and resources for school groups, enabling interactive learning on the palace's role as a Stewart residence and birthplace of . Virtual tours and home-based activities extend access, while HES promotes free learning visits to connect broader audiences with the site's archaeological and monarchical context.

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