Well before George IV undertook the remodelling of Windsor, a relatively modest mansion linked the Castellated mode more closely to the rising enthusiasm for the Middle Ages. The author of the immensely popular Waverley novels, Sir Walter Scott, employed Blore in 1816 to build Abbotsford near Melrose in Roxburghshire in this vein—it was much extended along the same lines by William Atkinson (_c._ 1773-1839) in 1822-3. With its definitely Scottish features Abbotsford initiated a special mode, the Scottish Baronial, that eventually received Royal sanction when Queen Victoria acquired Balmoral Castle near Ballater in 1848, a modest residence built in the late thirties by John Smith of Aberdeen. At the time she and Prince Albert first occupied this Scottish retreat Balmoral was quite small, but it was reconstructed in 1853-5 on a vastly larger scale in the same Scottish Baronial mode by William Smith, son of the original architect, working in close collaboration with Prince Albert. Thus the Queen’s two private residences, Osborne and Balmoral, both in part at least designed by the Consort, illustrated—in neither case very happily—the two major types of determinedly Picturesque design for edifices of some consequence, the Italian Villa and the Castellated; the viability of the Rustic Cottage mode was necessarily rather limited and hardly suitable for Royal use. Castellated design was not restricted to the field of country-house building. At Conway, in Wales, the engineer Thomas Telford (1757-1834) in his suspension bridge of 1819-24 and, after him, Robert Stephenson and his associated architect Francis Thompson in the tubular bridge[113] there of 1845-9 castellated the piers out of deference to the nearby thirteenth-century Castle. Another example of Engineers’ Castellated is the first Temple Meads Railway Station at Bristol, built in 1839-40 by I. K. Brunel (1806-59). Brunel, however, had preferred Egyptian forms for the piers of the Clifton Suspension Bridge[114] near Bristol that he designed in 1829.