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Mary Queen of Scots “From Castle to Palace”

18th February 2019 by Scran | 0 comments

City of Edinburgh, Canongate on the Roy Map, 1747-55

Mary Queen of Scots (1542-87)

 

 

 

 

 

 

 

 

This guest post comes from Sally Chalmers, the HES Learning Officer at Edinburgh Castle who has used Scran records to tell the story “From Castle to Palace”.

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Mary, Queen of Scots, finally returned home to Scotland in August 1561. After years of living in France she was used to elaborate celebrations, so the arrival back to a haar and the bustle of Leith docks may have been disappointing. Her unusually fast crossing resulted in a lacklustre welcome.  A few weeks later however, Mary was ready to make her real entrance to Scotland. In September 1561, she led a magnificent procession down the Royal Mile, beginning at Edinburgh Castle she proceeded to her residence at the Palace of Holyroodhouse.

Castell of Edenborrowgh 1649 – features gallows where witches were executed

Today, school visitors to Edinburgh Castle can walk in Mary’s footsteps using a trail developed by HES in partnership with Royal Collections Trust. The trail follows the length of the Royal Mile highlighting sites and landmarks which would have been there in 1561.

We are invited to cast our minds back and imagine walking the route by Mary’s side as she took in her old home and her new country.

 

 

Erected in 1912 following a suggestion by Patrick Geddes

Witches Well at the Royal Mile end of the Esplanade marks the site where over 300 witches and warlocks, mostly women, were victims of burnings from 1479 to 1722. Though it wasn’t there in Mary’s time, her son James took particular interest in witches, even questioning suspects of witchcraft himself during the infamous North Berwick witch trials.

The plaque inscription reads “This fountain, designed by John Duncan, RSA is near the site on which many witches were burned at the stake. The wicked head and the serene head signify that some used their exceptional knowledge for evil purposes, while others were misunderstood and wished their kind nothing but good. The serpent has the dual significance of evil and wisdom. The foxglove spray further emphasise the dual purpose of common objects.”

 

Gladstone’s Land on the Lawnmarket C19th engraving

Gladstone’s Land  now cared for by the National Trust, in Mary’s time this building would have belonged to a wealthy merchant. The merchant and other wealthy tenants would have lived in grand apartments on the upper floors, while the lower floors would be used as a shop and to house smellier residents, pigs! Today, you can still visit a shop but there are no longer any pigs.

 

 

 

 

 

Riddle’s Court

Riddle’s Court was built in the 1590s by merchant, Bailie John McMorran, reputedly the richest merchant of his time. It sits just off the main street away from the noise and smells of the crowded tenements of the Royal Mile. Aristocratic people would rent rooms here and use it as a meeting space. Mary’s son, James VI, attended a lavish banquet here.

It is named after George Riddell, who rebuilt it in 1726.

 

 

 

 

St Giles & the Old Tollbooth

Outside St.Giles’ Cathedral you can find a heart shape on the cobbles. In Mary’s time this was the site of the tollbooth – a court & prison. The heart marks the spot of the cell where prisoners would await execution.

Walking around the right side of the cathedral to the car park you’ll see a plaque in parking spot 23. This marks the grave of John Knox, a famous Scottish minister and one of Mary’s most vocal opponents.

 

The Mercat Cross is associated with state proclamations inc. Darnley 1565

The Mercat Cross showed that Edinburgh had the right to hold a regular market. It was also a site of public executions and formal proclamations (like the announcement of a new Queen). In Mary’s time, the Cross stood a little further down the street. You may be able to spot the cobbles that mark its previous position.

 

 

 

 

 

Luckenbooths were timber fronted, 4 storeyed tenements

Site of the Luckenbooths In Mary’s time, tall tenement buildings stood beside St Giles. They were known as luckenbooths because on the ground level they had locked booths which housed shops. Imagine what sights and smells Mary must have experienced as she travelled past the bustling Luckenbooths.

 

 

Etching of John Knox House & Mowbray House by Frank W Simon c1885

John Knox House is now home to the Scottish Storytelling Centre, the building known as John Knox’s house is one of the oldest houses in Edinburgh. It is believed that John Knox did live there for a while but it was also home to James Mossman, Mary’s goldsmith and keeper of the royal mint. Mary, Knox and Mossman feature on the wooden panels on the front of the house.

 

 

 

 

World’s End Close photographed early 1960s

The World’s End Walking along the mile you may spot a pub called the World’s End. This area was known as World’s End as it separated the Canongate (the lower Royal Mile) from the original city of Edinburgh. In Mary’s time, there would have been a gatehouse here. Sometime the gate here was used to display the heads of executed prisoners, perhaps there were some on display when Mary passed by, not knowing they foreshadowed her own eventual fate…

 

Originally three burgage tenements converted into one house in 1517

Today Huntly House is home the Museum of Edinburgh, it is typical of the type of housing in Mary’s time. It would have originally been made of wood but had to be rebuilt after being damaged during the Rough Wooing.

 

 

 

Murder of David Rizzio painting by Sir William Allan c.1833

Canongate Kirk & David Rizzio’s Grave  To the right of Canongate Kirk, you will find the plaque said to mark David Rizzio’s grave. Rizzio had been secretary to Mary and close confidant but he was brutally murdered in front of Mary, by a band of nobles including Mary’s own husband in 1566.

 

White Horse Close lies to the bottom of the Canongate

White Horse Close was the site of the royal mews or stable, where Mary kept her prized white horse, hence its name. Mary loved sports like riding and hunting, so her horses were important to her. The close became rather decayed and it was restored as modern housing in the 1960s.

 

 

 

 

Engraving by James Gordon 1649

Finally, we arrive at Mary’s destination The Royal Palace of holy rood hous.

This view shows Holyrood as it would have appeared at the time of Mary, Queen of Scots and before the fire during Cromwell’s occupation in 1650 when much of the building was destroyed.

Here we conclude the Castle to Palace trail.

Images © The British Library, Historic Environment Scotland, National Museums Scotland, National Galleries of Scotland,  City of Edinburgh Libraries & Alan Daiches  | Licensor Scran

Burns Supper

16th January 2019 by Scran | 0 comments

Around January 25th, Burns’ Clubs & other lovers of the poet, arrange Burns Suppers. Burns has always attracted massive support.

01980093This painting, by an unknown artist, depicts the 1844 Burns Festival. The procession, which started in Ayr, is shown passing over the new and old brigs o’ Doon and entering the festival site at the Burns Monument, where Burns’ three surviving sons were guests of honour. The event attracted over 100,000 participants and involved the construction of a banqueting marquee for 1400 invited guests, seen to the right of the picture. A platform was constructed in front of the Monument to enable the guests of honour to be seen by the crowds and to deliver the speeches.

History

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Newton Stewart Burns’ Club dinner, 1904

Greenock enthusiasts founded the earliest Burns’ Club on 21st July 1801 and had their first supper on 29th January 1802; which at that time was mistakenly thought to be the anniversary of his birth. Following close on their heels were clubs at Paisley, Kilmarnock and Dunfermline. Throughout the century more and more clubs sprang up either in Scotland or wherever Scots met. One of the earliest in England was the Bristol Caledonian Society founded in 1820. By 1885 there were so many Burns’ Clubs in existence that an international Federation of clubs was instituted.

Format of Burns’ Supper

Welcome & Grace 00981150 (1)

A few welcoming words start the evening & the meal commences with the Selkirk Grace:

Some hae meat and cannot eat.
Some cannot eat that want it:
But we hae meat and we can eat,
Sae let the Lord be thankit.

Piping in the Haggis – Before the Haggis appears, one should hear the skirl of the bagpipes and the company should stand to receive the haggis. A piper then leads the chef, carrying the haggis to the top table. The guests accompany this with a slow rhythmic hand clap.

06710548Address to the Haggis – The chairman or invited guest then recites Burns’ famous poem To A Haggis. When he reaches the line “an cut you up wi’ ready slight”, he cuts open the haggis with a sharp knife. The company applauds the speaker and then are asked by their host to stand and toast the haggis with a glass of whisky. The meal is then served.

The Immortal Memory – An invited guest is asked to give a short speech on Burns. There are many different types of Immortal Memory speeches, from light-hearted to literary, but the aim is the same – to outline the greatness and relevance of the poet today.

Toast to the Lasses – The main speech is followed by a more light-hearted address to the women in the audience. Originally this was a thank you to the ladies for preparing the food and a time to toast the ‘lasses’ in Burns’ life. The tone should be witty, but never offensive, and should always end on a friendly note.

Response – The turn of the lasses to detail men’s foibles. Again, this should be humorous but not insulting.

Poems & Songs

Once the speeches are complete the evening continues with songs and poems. The evening will culminate with the company standing, linking hands and singing Auld Lang Syne to conclude the programme.

Food Served

06320052The food varies according to custom and locality but, in general, the meal should feature a Haggis. The usual accompaniment is Tatties [potatoes] and Neeps [turnips or swedes]. Other components might include a soup such as Scotch Broth or Cock-a- Leekie and there may be Atholl Brose or cheese and bannocks [oatcakes].

Images © Trustees of Burns Monument & Burns Cottage, National Museums Scotland, Whithorn Photographic Group  & Scottish Life Archive and an Unknown | Licensor Scran

The Christmas Card Phenomenon

23rd December 2018 by Scran | 0 comments

Festive Greetings06712558

Christmas greetings cards have become a regular feature of the traditional British Christmas with billions changing hands within the UK each year, but where did this tradition begin and why did it continue to thrive?

Humble Beginnings?

The first Christmas card is thought to have been designed by British artist John Calcott Horsley in 1840. With the invention of the telephone still over 30 years away, sending hand-written letters by mail was the primary means of communication. Faced with the tedious task of writing to all his friends and family members with Christmas greetings, a friend of Horsley, civil servant Henry Cole, conceived the idea of a printed card bearing a suitable message which could be signed and sent to one and all. Horsley embraced the idea and produced a design which was published in 1843. Cole had 1000 of the cards printed and placed on sale at the rather princely sum of 1 shilling each. Little did he realise just how popular his idea would become!

National Mania

09230757Times have changed since Henry Cole’s moment of inspired laziness: mail is no longer the mainstay of communication. The telephone network has joined up the remotest corners of the world and the cheap, paperless, instantaneous communication afforded by e-mail has threatened to make ‘snail mail’ altogether obsolete. The Christmas card, however, goes marching on, and in no small way.

We are still crazy enough about Christmas cards to cause enormous disruption to the postal system every December. This year, postboxes will be stuffed with an estimated 2 billion cards and on the busiest day the national mailbag will contain almost double its usual 84 million items. Such is the congestion that Royal Mail recommend posting second class seasonal dispatches 8 days in advance to guarantee arrival in time for the big day.

Conscientious Choice

06712561Two billion cards amounts to a lot of paper and a lot of spending. Many consumers are now looking for more conscientious ways to enjoy the tradition. Each year, around a quarter of shoppers will choose charity cards in the hope that good causes can benefit from their seasonal spending. However, the percentage of proceeds finding their way to good causes varies widely. Research by the Charities Advisory Trust suggests that some charity cards are just not all that charitable after all: the most miserly example they uncovered passed only 0.3% of proceeds to the named good cause. Others will aim for a more ethical celebration by boycotting Christmas cards altogether, feeling that their seasonal goodwill is better expressed by not contributing to the tonnes of paper waste generated from cards each year.

‘Tis the Season to Recycle?

  • 06710368An estimated 1 billion Christmas cards and 83 sq km of wrapping paper will end up in our bins this year
  • We bought around 7.5 million Christmas trees in 2001: at least 1.1 million were recycled
  • 20 – 30% more glass and cans will be collected for recycling over the festive period

Christianity back into Christmas?

Horsley’s original card had its opponents too, but for different reasons. It bore an image of a family raising their glasses to Christmas which incited fury amongst Puritans of the time. In what was still very much a Christian state the uproar was caused by the association of the evils of alcohol with the sanctity of the feast of Christmas. It is interesting to note that, while scenes of the Nativity and other connected imagery went on to become regular features in the design of Christmas cards, the genuine article was quite secular in its design.

Controversy about the presence or absence of Christianity in Christmas traditions rages in Britain to this day with many Christians bemoaning the seeming transformation of the feast from a religious event into an orgy of consumerism. Others would praise the fact that in our modern British society, one characterized by a far more diverse range of religion and cultural traditions than the Victorians would have recognised, the goodwill of Christmas is now often shared across faiths and cultures. The disagreement reaches beyond the UK too. In 2005 the president of the USA received angry feedback about the official White House Christmas card: the secular design of the card horrified some recipients (it featured two of the head of state’s pet dogs frolicking in the snow on the White House Lawn).

Question of Taste

The official White House card illustrates how the sending of Christmas cards has become protocol in the USA. The same is true in Britain: businesses are careful not forget their customers, and refuse collectors all over the country will receive cards from perfect strangers during the season. Is a Christmas card from the paperboy evidence of lasting Christmas spirit or just a hint that a tip might be in order?

A wide variety of designs have evolved to suit these myriad purposes. Horsley’s original design showed a scene of Christmas cheer. Cards like this are still popular, alongside Nativity scenes and informal cartoons. When the Christmas card was still a relatively new idea the Victorians became very fond of elaborately engineered pop-up and trick cards. Nowadays, hand-making cards is a popular hobby and parents everywhere are still best pleased with the lovingly prepared designs in glitter and glue brought home by their sticky-fingered schoolchildren.

What makes a good Christmas card? Can a piece of stationery really embody the Christmas spirit? Why not try making a Scran card to find out? Search for an image and click Create to make a greetings card in a few easy steps and see if you can make someone’s Christmas!

Images © Scottish Life Archive, The Scotsman Publications Ltd | Licensor Scran

Stained Glass at the Scottish National War Memorial

5th November 2018 by Scran | 0 comments

The Scottish National War Memorial at Edinburgh Castle houses a rich variety of artwork to honour & remember those who died in World War One.  When it was built, between 1923 & 1927, over 200 professional artists worked with the architect, Robert Lorimer, to create a suitable tribute.

The interior of the memorial expresses the tragic sense of loss felt by Scotland after WW1. Inside the building, there is a feeling of dignity, pride and a sense of peace. The artists and makers used different materials, including bronze, iron, wood, stone, paint as well as stained glassThe result is impressive.

Air Force window design 1924 by Douglas Strachan

The artworks are designed to pay respect to the individual Scots who died, both men and women in all their different roles. Animals are acknowledged too, in the much loved stone sculpture ‘Remember also those Humble Beasts‘ by Phyllis Bone.

 

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Certainly the most colourful element of the SNWM is the is the stained glass with light flooding in from outside. In the main Hall of Honour the windows provide a lot of information, if you look carefully. For example, there is imagery illustrating what life was like on the Home Front, such as the mobilising of troops at Waverley Station (pictured top).

At either end of the hall, there are windows dedicated to different military services; that is the army, the navy and the air force – land, sea & air. Other windows show the four seasons. Some of the windows have roundels illustrating the different jobs people did or technology used in the machinery of war.

The windows in the Shrine are different to those in the Hall of Honour. These seven windows tell a another story, they use Bible and Christian messages to describe the experience of the War. Therefore they look more familiar to many, perhaps like traditional church windows at first glance.

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The artist who made all of these stunning windows was Douglas Strachan (1875-1950). Strachan was born in Aberdeen and educated at Robert Gordon’s College. He took evening classes at Gray’s School of Art in Aberdeen. He worked as an apprentice lithographer, a muralist, a portrait painter and then found a passion for working with stained glass. In 1909 he moved to Edinburgh to set up the crafts department of Edinburgh College of Art. He lived in Midlothian where he died in 1950. He worked on many other memorial windows, including a designs for the Peace Palace in The Hague installed in 1929.

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* To see more of the SNWM stained glass windows visit Scran

Images © Canmore Historic Environment Scotland Licensor Scran 

 

MacFarlane Lang Biscuits

29th May 2018 by Scran | 0 comments

“Butter Bar Biscuits are really delightful – Try Them!”  Perhaps an unsubtle advertising slogan by today’s standards, but no doubt a success for the Macfarlane Lang & Co Biscuit Factory in Glasgow.

Beginning its life as a bread bakery as far back as the year 1817 in the Gallowgate by Mr James Lang, the premises then consisted of a small shop with bakery attached. Soon after the joining of Mr John Macfarlane, in 1860 the company found the need to move into larger premises in Calton. It was here that Macfarlane was joined by his two sons and it was soon decided to erect premises specially adapted to the trade. Opened in 1880, the large factory ensured the continuing prosperity of the firm. It was in 1885, that they decided to manufacture of biscuits as well.

At its extent, the Victoria Bread & Biscuit Works complex at 30 Wesleyan Street, Bridgeton, Glasgow covered an area of seven thousand square yards. A five-storeyed building plus attic block was built in 1895 to designs by J M Monro, architect. The bread and cake part of the business continued to operate on this site, and by 1967 was owned by the Milanda Bread Co Ltd. That bakery operated until 1974, but has since been demolished.

Meanwhile the Victoria Biscuit Works (Macfarlane Lang & Co Biscuit Factory) at 35 Clydeford Drive, Tollcross, Glasgow was built in the 1920s, to replace their first factory.

This one was laid out horizontally rather than vertically, very much in the style of the era. Behind a rather plain façade was a large area of workshops, housing bakery and finishing facilities. When the works was built the packing was all done manually. Amongst others, this is where the production of Rich Tea, Gypsy Cream and Cream cracker biscuits took place – ready for dispatch to all parts of the  world.

At the same time, owner John W. Macfarlane, purchased Villa ‘Norwood’ in 1920s Bearsden. The Biscuit business must have been booming.

In 1948 Macfarlane Lang & Co merged with McVitie & Price. Macfarlane Lang & Co were the largest of the Glasgow biscuit bakers. They were, by 1967, part of the United Biscuits group, an amalgamation of several firms put together by Canadian entrepreneur Gary Weston. The brand name has not survived.

 

Images © University of Strathclyde, National Library of Scotland, East Dunbartonshire Council, Scottish Motor Museum Trust & Historic Environment Scotland Licensor Scran

 

 

WW1 South African Native Labour Corps

7th November 2017 by Scran | 0 comments

Original caption reads ‘At the window of one of their huts’

Amongst the many thousands of photographs from the National Library of Scotland to be found on Scran, there is a collection called Images of War. These were taken by official War Office photographers during World War One and form part of the Haig Papers. This astounding and often arresting war photography contains a small set of 21 images, which tells the story of the South African Native Labour Corps, referred to as the SANLC.

Some 20,000 South Africans worked in the SANLC and took part in World War One, however due to South Africa’s segregationist policy, black South Africans were restricted to non-combatant roles. The SANLC were discriminated against because of the racist attitudes of the period which meant that black South Africans were not enlisted as combat troops, but only in the Labour Corps. They laboured in the docks, in salvage, supply, burial and other non-military jobs. They were used as cheap manual labour but were denied the right to serve in the army or to be given any recognition of the role they played. In part this was due to the South African government’s fear of the native claims for land.

Labourers display shell damaged radiator to the camera

When the SANLC were recruited, the units tended to be organised on the basis of their homeland tribe or region. In part this was to avoid problems from traditional tribal feuds, but it also reflects the fear of the South African government that the different native groups would combine against the existing white rule.

Although the SANLC were not meant to be deployed in combat zones, there were inevitable deaths when the docks or transport lines on which they worked were bombed. The greatest tragedy was the sinking of the troopship SS Mendi on 21 February 1917, when 617 members of the SANLC were drowned in the English Channel. The SANLC had operated in the fight against the Germans in South West Africa since September 1916, but the Labour Corps for the Western Front was established and camps set up in 1917.

Original caption reads ‘Smiling and Warm’

The various Labour Corps included many non-European groups such as the South Africans (SANLC), Egyptians, Chinese, Cape Coloured and Indian Corps. They were not only restricted from contact with white Europeans but were also segregated into different racially-determined Corps. Unlike some of the other labour contingents, the SANLC were not awarded any medals after the war.

World War One saw the development of a system of ‘official’ reporting by professionals especially recruited into the forces. Several of the SANLC series of photographs have been attributed to photographers John Warwick Brooke and Ernest Brooks.

SANLC dancers performing a traditional war dance

Initially reluctant to allow cameras near the fighting, it took some time for authorities to appreciate the propaganda and recording potential of photography. The cheerful appearance of the SANLC men is possibly deliberate propaganda on the part of the photographer, to counterbalance the reports of strikes and unrest among the various nationalities of Labour Corps, when they felt their conditions were unreasonable, or their original contracts had been broken. These photographs provide us with an invaluable record of how the Government and Military wanted the war perceived. 

Images © National Library of Scotland Licensor Scran

 

 

Heritage Arts Award in Stirling

26th September 2017 by Scran | 0 comments

Stirling Townscape, Valentines postcard 1878 – University of St Andrews Library

Guest blog by Sarah Longfield, all about our new project.

Our partnership project led by See Think Make CIC & Scran part of Historic Environment Scotland, will take place during Year of Young People, 2018.

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Arts Award is a series of qualifications for children and young people accredited by Trinity College London. Heritage is very much seen as part of the arts world and young people can focus on any traditional craft or more broadly heritage based creative roles, such as curating as part of their Arts Award Portfolio.

To date, there have not been many heritage organisations in Scotland taking up Arts Award. However, at the Museum Association Conference at the SEC last Autumn, we were blown away by the amount of interest in the awards and by the open friendliness of all the creative learning professionals we encountered.

So, we decided the best way to promote Arts Award’s potential in the heritage sector was to put our money where our mouth is and go out there and deliver a fabulous project. We found Jackie at Scran who was enthusiastic about working in collaboration and also hooked up with Fiona from Scotland’s Urban Past. From there we talked with lots of partners in Stirling, including The Stirling Smith Museum & Art GalleryThe Engine Shed, St.Modan’s High SchoolStirling Castle, Forth Valley College, Culture Stirling and the project started to take shape.

At the beginning of this month, we heard we had got a grant from Heritage Lottery’s Young Roots fund so we’re now getting ready to launch!

So what is the project?

Map of Stirling 1820

To start with, a group of around fifteen 15-25 year olds will come together to use the heritage of Stirling as inspiration and resource for a Silver Arts Award.

Silver Arts Award encourages young people to develop their artistic practice (any art form), delve further into the world of the arts in the locality and to work together on a leadership project.

The group will have the opportunity to work with a range of artists and heritage experts including the outreach team at Scotland’s Urban Past and take part in a traditional arts workshop at the Engine Shed.

Then, next April, the group’s leadership project will be to devise a creative virtual and/or physical heritage trail for other young people. This trail will involve arts activity, discovering artists and some way for those taking part to share what they have created/discovered. All young people who have completed the trail will receive a Discover Arts Award.

The young people will chart their progress in a digital Arts Award portfolio, culminating in achieving the Silver (equivalent to level 5 on the SCQF). More details on the awards can be found at www.artsaward.co.uk or for Scottish specific case studies: www.seethinkmake.co.uk

 

 

 

 

Images © National Library of Scotland & University of St Andrews Library Collections Licensor Scran

“Puire Fatherless Bairnes”

27th June 2017 by Scran | 0 comments

Heriot’s Hospital Boys Edinburgh 29 June 1880

I’m Theo Smith, over the past week I have been doing work experience with Historic Environment Scotland. Part of my work experience has been working with Scran. I was tasked with writing a blog post inspired by my discoveries on scran.ac.uk. After a bit of research I decided to see what I could find about my school and its founder George Heriot. I decided on this topic because even though I already know a bit about my school’s history, I wanted to find out more. When looking through Scran I found some really interesting information and images – here is what I found out.”

George Heriot – Founder of the School (1563-1624)

George Heriot was born in 1593 to a father of the same name. His father was a goldsmith and was descended from the Heriots of Traboun, an old and well known family in East Lothian. In 1588 George Heriot became a member of the Corporation of Goldsmiths, continuing his father’s work. He was so good at his work that in 1597 he became the goldsmith to Queen Anne, which led to him becoming the jeweler and goldsmith to King James VI only four years later. When King James became King of England, Heriot followed him to London and lived there until he died on the 12th February 1624 at the age of 60. He died a very rich man and those riches would go into building a school for the upbringing and education of the “puire fatherless bairnes” of Edinburgh. It would be named Heriot’s Hospital.

Inside the Quadrangle – 1953

The building of the school was taken on by the royal master mason William Wallace. He was a well known in Scotland as an expert for these kinds of buildings as he already had a number of notable structures to his name. He also was the main mason on the King’s Lodgings at Edinburgh Castle. But Wallace died before he could finish and the job was taken up by his apprentice William Aytoun who had assisted him on various other projects. Aytoun almost completed the building however he died at the end of the 1640’s. In 1693 Robert Mylne presented drawings to build the large octagonal clock tower. He also added a statue of George Heriot inside the quadrangle. In the early 19th century the well known architect William H Playfair added a gatehouse on Lauriston Place.

The gatehouse at Lauriston Place

He also added a terrace around the base of the main building of the school. The interior of the chapel in the south side of the main building was done by Scottish architect James Gillespie Graham in 1837.

When the main building of the school was complete in 1650 it was occupied by the injured and sick troops of Oliver Cromwell until 1658 when he died. The school opened its gates to 30 more boys. This increased the number of boys living at the school to 150. In 1837 the school opened 10 ‘free schools’ across Edinburgh which educated several thousand children however they closed in 1885. A year later Heriot’s Hospital was renamed to George Heriot’s School which it has remained ever since. In the 1870’s the school paid for an institution, which would later merge with the Watt institution, to form Heriot-Watt College, a technical college, which would later become the Heriot-Watt University.

The Brannan Sisters arrive in August 1979

In 1979 three Brannan sisters from Dalkeith became the first girls to attend the school. There are a number of children in the school, those who meet the financial and residential criteria, who still receive help from the school which offers full coverage of the costs to attend. This shows that George Heriots legacy still continues and may continue for a long time to come.

 

 

 

 

Images: © The Scotsman, Edinburgh City Libraries, Newsquest (Herald & Times), National Museums Scotland & Edinburgh College of Art  Licensor www.scran.ac.uk

Scran contributes to BBC Scotland

20th March 2017 by Scran | 0 comments

Spacehoppers

Glasgow Gorbals 1970 – The Scotsman

Eagle-eyed viewers in Scotland who saw the recent three-part BBC series called “Growing Up in Scotland: A Century of Childhood” may have noticed Scran mentioned in the credits at the end of each episode. Combining still images, film footage and contemporary interviews, the three episodes were a nostalgic look at Scottish childhood, and we were delighted to be asked to supply many images for all three programmes, including one of our all-time favourites, the two Glasgow boys with Spacehoppers.

While the standard Scran licence doesn’t allow commercial reuse of images, we’re happy to grant commercial licences on an ad-hoc basis, and anyone can do this by clicking on the “Buy” button underneath an image. Scran regularly supplies images for commercial re-use to newspapers, magazines, book publishers and film and TV companies, and if you see a TV documentary about Scotland, take a close look at the credits at the end.BBC screenshot

There’s a good chance we’ll have supplied material for the programme. Viewers outside Scotland, and anyone who missed these fascinating documentaries, can catch up on the BBC’s iPlayer service http://www.bbc.co.uk/iplayer/episodes/b08gcxb6

Image © The Scotsman Publications Ltd Licensor Scran 

 

Dunbar Bricks & Heritage Angels

5th December 2016 by Scran | 0 comments

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Mark Cranston – Heritage Angel Award Winner

Some of you may have heard about the recent Scottish Heritage Angel Awards? Here at Scran we caught wind of the fascinating work of Mark Cranston, who proceeded to win Category A for Investigating & Recording his extensive collection of bricks.

Scran has a pile of brick related content, which Mark was already familiar with, and through a series of fortunate events, we were able to contribute to his ever growing collection. East Lothian resident, Gina Williams, donated the brick which Scran then delivered to Jedburgh.

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The brick was from a Dunbar manufacturer and although he already had an example of a M.B. Sherriff brick, he had not seen this particular variation. One face on each has a shallow rectangular ‘frog’ or depression with text MB SHERRIFF/ DUNBAR and impressions of screw-heads.

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Invoice, Seafield Brick and Tile Works, 1868

Seafield Brick & Tile Works at West barns, near Dunbar, supplied the local market as well as special commissions in Scotland and abroad.  These bricks were made using deposits of surface clay; originally dark grey, the clay becomes red when fired, a change caused by the oxidation of iron contained in the clay. The Seafield brickworks operated from the early eighteen hundreds on land reclaimed from the sea between West Barns and Belhaven. Once in the hands of David France, it passed to William Brodie and then his relatives, the Sherriffs of West Barns. William Brodie, invested in new equipment and expanded the works, exporting many of the products on his own fleet of steam vessels from Dunbar Harbour.

Unusually for a Victorian industrialist, M.Brodie Sherriff  was a woman. In 1884 she purchased & re-opened the brickworks at Westbank, in Portobello, so expanding the business further.

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Seafield Brickworks, West Barns – surface clay pits

Nineteenth century East Lothian had a number of industrial scale plants producing bricks, tiles, pipes and other large scale ceramics. Seafield relied upon surface deposits of clay. Later, the abandoned clay pits were used to dump municipal waste and landfill until around 1970. Then the land was landscaped and planted; part was reserved for amenity, being integrated into the John Muir Country Park in 1976.

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You can see the full extent of Mark Cranston’s collection of bricks  http://www.scottishbrickhistory.co.uk/

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Images ©  Mark Cranston, Scran & East Lothian Museums Service| Licensor Scran