Gothic influences, and is a Category A listed building. Built between 1885 and 1890, the building is noted for its ornate Spanish Gothic style, an unusual addition to Edinburgh's mostly Georgian Neoclassical New Town. The windows are in carved pointed arches and the main entrance on the Queen Street front, surrounded a large gabled arch, leads to the main entrance hall, arcaded with pointed arches, which originally served both the Portrait Gallery to its east, and the National Museum of Antiquities of Scotland to its west. A distinctive feature of the gallery is its four octagonal corner towers topped with crocketed Gothic pinnacles; originally, Anderson had intended to flank the facade with a pair of large Franco-Scottish tourelles, but these were replaced at the request of the benefactor by the pointed turrets seen today. Anderson's design was influenced by a number of other Gothic and Gothic Revival architectural works, in particular the rectangular Gothic Doge's Palace in Venice and the works of George Gilbert Scott, and similarities have also been drawn between the Portrait Gallery and Anderson's Mount Stuart House on the Isle of Bute, which he designed for the 3rd Marquess of Bute in the late 1870s. Around the exterior are sculpted figures of noted Scots set in niches, designed by William Birnie Rhind. These were added in the 1890s to compensate for the lack of contemporary portraits of medieval Scots in the gallery's collection at the time, as was the large processional frieze inside the main entrance hall, painted by William Hole. This mural, added in 1898, depicts an array of notable Scots from history, ranging from Saint Ninian to Robert Burns. Figures were added to the frieze over the years after the gallery opened, and Hole added further large mural narrative scenes on the 1st floor later. Collection The museum's collection totals some 3,000 paintings and sculptures, 25,000 prints and drawings, and 38,000 photographs. The collection essentially begins in the Renaissance, initially with works mainly by foreign artists of Scottish royalty, nobility, and mainly printed portraits of clergymen and writers; the most notable paintings were mostly made on the Continent (often during periods of exile from the turbulent Scottish political scene). As in England, the Scottish Reformation all but extinguished religious art, and until the 19th century portrait painting dominated Scottish painting, with patrons gradually extending down the social scale. In the 16th century most painted portraits