William White (1825-1900) has been described by Mark Girouard as 'One of the most interesting and least known of Victorian Gothic revivalists', most probably because, in spite of his many innovative designs, he did not enter the competitions for major public buildings that brought fame and fortune to his contemporaries, such as George Edmund Street. Nor did White produce any books to promote his architectural theories. However, this thesis has established the existence of a corpus of his writings, encompassing various topics as well as architecture, published in contemporary journals. White attached great importance to the subject of colour, both structural and applied, and this is examined in relation to both his secular and ecclesiastical projects. White's standing as a church architect---an obituary mentions more than 250 ecclesiastical schemes---may have militated against his subsequent reputation, for he, himself, believed that there was less opportunity for innovation in the design of churches. This thesis demonstrates that White's designs for parsonage houses and schools reveal him as being in the vanguard of the development of the Queen Anne style. As a restorer of both ecclesiastical and secular buildings, White can be seen as sensitive to earlier work but cognisant of the demands of modern life. His argument that the continued function of a building is necessary for its preservation is used today by English Heritage. Although, like most of his contemporaries, White was sceptical of iron as a building material, he was innovative in his use of concrete and of double-glazing. White's demands for local materials that could be well handled by local builders anticipated the ideas of Philip Webb and the Arts and Crafts movement. This thesis establishes a corpus of White's work from Aberdeen to Cornwall, and in South Africa and Madagascar, which demonstrates his contribution to nineteenth-century architecture.

The thesis is organised on a chronological basis, in five sections, each coinciding with a coherent phase in Kinross's life and/or career: Section I (1655 - 1890) a) delineates Kinross's earliest years and architectural training, b) examines the consequences of his period of study travel in Italy and c) details his emergence within Edinburgh architectural circles and his resultant partnership with Henry Seymour. Section II (1890 - 1898) investigates the architect's first years of entirely independent practice, focusing in turn on restoration, domestic and ecclesiastical work. It is argued that Kinross developed a distinctive and scholarly approach, exemplified by a conservative restoration procedure and the promotion of a viable "Scottish" style linked (in theory) to J. J. Stevenson and (in practice) to R. Rawand Anderson and articulated within a domestic and ecclesiastical format. Section III (1898 - 1905) encompasses Kinross's undertakings at the height of his career. placing particular importance on his country house experiments. The need for his partnership with H. U. Tarbolton is explained and the nature of their professional association defined. Section IV (1905 - 1914) examines and explains the steady decline of the Kinross practice, particularly in relation to his rapidly narrowing base of patronage. The architect's involvement in professional bodies (already touched upon in Sections II and III) is outlined, as is his major non-architectural investigation into the history and provenance of a bronze version of Michelangelo's Bruges Madonna. The architect's last years (1914 - 1931) are examined in Section V, including the uncertainties surrounding his financial and domestic circumstances (particularly acute during the war years), his contribution to the debate on the question of architectural education, his activities as a designer of war memorials, and the consequences of his nervous breakdown in September 1920. Finally, the modest outcome of his subsequent (and brief) Joint practice with J. Inch Morrison, is summarised, and attention drawn to his enterprises as Treasurer of the Royal Sottish Academy. The concluding section provides an overview of the thesis, and also defines the nature of Kinross's importance and the extent of his influence.

This thesis explores the architectural practice of John Dick Peddie and Charles Kinnear from Peddie's earliest known designs of 1844 to his withdrawal from the partnership in 1879. A detailed investigation has been made of their unusually well-preserved drawings archive - preliminary studies and rejected proposals as well as executed schemes - and followed up by examination of surviving buildings and records of those now lost, in order to understand how the elevations, planning and underlying compositional principles were conceived. The re-use and adaptation of features - the partners' own and those of other architects who influenced them - across the unprecedented variety of styles and building-types which characterised the period has been the subject of special attention, principally since it helps explain the practice's singular ability, in British terms, to produce exceptionally well-considered designs even if there were few or no previous examples to follow. Reference to contemporary publications, especially the building journals, and to more recent studies in architectural history has been made to ascertain any obvious precedents and parallels as a result aesthetic, technological, economic, social and legislative change. Family history and business and church records have also been researched to establish what lay behind the partnership's success. The partners' well-connected backgrounds and willingness to become involved with their own money in ambitious business ventures are constant themes, contributing to the growth of the practice until it became the largest in Scotland. Initially one of the most successful practices in Scotland fmancially, that entrepreneurial role subsequently led to catastrophe even as some of their very greatest architectural projects were being realised. The thesis has been comprehensively illustrated in the hope that it may become a guide not only to Peddie & Kinnear, but also to the rich variety of Scottish architecture in the Victorian period generally.

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