The upper floor, which is at ground level when approached from the raised northern lawn, contained two small cottage-like apartments, or "bothies", for the gardeners. Murray left Scotland after the initial structure had been built, and went on to become the last Colonial Governor of Virginia in America. The upper-floor pavilion or summerhouse with its pineapple-shaped cupola and the Palladian lower-floor portico on the south side were added after Murray’s return from Virginia. The building is a mixture of architectural styles. The south (ground floor) entrance takes the form of a characteristically Palladian Serliana archway, incorporating Tuscan columns. Visitors who step through this archway and into the vestibule below the pineapple face an elaborately framed doorway, flanked, on either side, by pairs of painted wooden Ionic columns, carved with great care, which display perfect fluting and even architecturally correct entasis. The keystone of the Serliana arch is inscribed with the date "1761." This has caused some people to speculate that the pineapple was constructed in 1761, although there is no clear evidence that the archway and the pineapple were built at the same time, or even designed by the same architect. Others suggest that the pineapple was constructed after Murray's return from America in 1776. Above the Serliana arch is inserted a “later and clumsier,” panel bearing a relief carving of a heart charged with a cinquefoil and inscribed with the motto "Fidelis in Adversis". The design and motto are taken from the Douglas-Hamilton coat of arms, and probably commemorate the marriage, in 1803, of George Murray, the 5th Earl of Dunmore, to Lady Susan Douglas-Hamilton, daughter of Archibald Hamilton, 9th Duke of Hamilton. The intricately carved stone pineapple, which is situated between the two bothies, forms an elaborate cupola atop an octagonal pavilion, with sash windows topped with Gothic (or, more accurately, Gothick) ogee arches on seven sides and a door, topped with an ogee transom, on the eighth. The door, on the north side, exits onto the upper level of the garden. Inside the pavilion, the stone walls are gently curved, so that the room is circular rather than octagonal. Even the door and the panes of glass in the seven windows are curved, so as to match the curve of the walls in the room.