6 10 61 http://www.artisansinscotland.shca.ed.ac.uk/files/original/52475f8ecef6b36d89451133fd365daf.jpg 251036e7bc88a1dd0fc97f0c572d8605 Exhibition Item Title Umbrella Stand, Carron Company Category Metal Wares Description This ink on paper design shows the shape and details of the cast-iron umbrella stand copyright registered by Carron Company at 75 Upper Thames Street, London and with works at Carron Stirlingshire, Scotland, on February 24th 1843. The design, which is typical of mid-Victorian taste, is highly decorative and shows the intricate moulding capabilities of the iron-casting process comprising a symmetrical arrangement of adjoining c-scrolls and almost no straight lines. It was one of over thirty-five designs registered by Carron Company between 1843 and 1863. Carron Company was the first large-scale cast-iron smelting company in Scotland. Founded in 1759 on the banks of the River Carron it was established as a large-scale manufactory, with ammunition, architectural ironwork and decorative domestic wares all included in its early production. Emphasis on good design was a significant factor in Carron’s early success. In the 1770s the Scottish architects, Robert, James and John Adam became shareholders in the business, influencing the style of its decorative work and representing the firm’s commercial interests in London. Under their influence Carron supplied the beautiful, classical-style cast-iron ranges and decorative grates for which the company became renowned, many of these can still be found in the private and public rooms of country and town houses in London and Scotland. Carron’s Adam-styled ironwork can also still be seen in the balconies and railings of Edinburgh’s New Town. Carron Company was formed as a joint endeavour between chemical manufacturer John Roebuck, Birmingham businessman Samuel Garbett, and William Cadell who was an ironmaster, shipowner and merchant of Cockenzie. In its early years it was dependent on the skills and knowledge of a workforce brought from the iron district of Coalbrookdale in Shropshire, but its expansion allowed investment in local skills and new smelting technologies. By the late eighteenth-century Carron was fully exploiting Falkirk’s resources of iron-ore and labour. Carron promoted its goods through exhibition displays and advertising catalogues. The exhibition catalogue of the 1862 International Exhibition in London features an illustration of an ornate parlour register stove and details of Carron’s London showroom at 15 Upper Thames Street and its warehouses at 30 Red Cross Street Liverpool and 123 Buchanen Street, Glasgow. The diversity of goods manufactured can be seen in a catalogue produced by the firm in the early 1880s, which illustrates ornamental goods for domestic wares including umbrella stands, garden seats, clothes posts and kitchen ovens. Other sections of the catalogue show illustrations for the firm’s domestic and industrial sanitary fittings including stoves for shops and ships, palm-oil boilers and other export specialities. By the mid nineteenth-century a number of prominent and reputable iron-foundries were operating in the Falkirk area many established on the back of Carron’s early endeavour. The Phoenix Foundry (est.1802) and The Falkirk Iron Company (est.1819) were just two of the rival foundries founded by men previously connected to Carron Company. Image copyright The National Archives, ref. BT43/1 (5372) Item Location The National Archives, London Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Umbrella Stand, Carron Company, 1843 cast-iron copyright and patenting craft communities Edinburgh Glasgow London neoclassical Robert Adam Stirling http://www.artisansinscotland.shca.ed.ac.uk/files/original/af71570a5a0d485e7455c5cfc4c4b730.jpg 2d68a40bb46b2c2157bb52621507df48 Exhibition Item Category Glass and Ceramics Image copyright Kirkcaldy Galleries Item Location Kirkcaldy Museum and Art Gallery Description This ceramic cat has glass eyes and is decorated all over with yellow glaze and a pattern of blue hearts and roundels. It was made as part of the Wemyss Ware range at Robert Heron & Son, Kirkcaldy, though its characterful stance and distinctive decoration shares characteristics with ceramic cats made by Emile Galle of Paris in the 1870s. Wemyss Ware was particular to Heron’s Fife Pottery where it was introduced as a hand-decorated range in around 1882. Robert Heron was the last of three generations of the Methven family to run Kirkcaldy’s potteries. David Methven bought the works and clay rights to the Links Pottery in Kirkcaldy in 1776 and his son John bought the nearby Fife Pottery in 1827. It was this pottery that Robert Heron inherited from his mother Mary Methven Heron in 1887. Under his influence and with the painting skills of decorators brought specially from Bohemia, a clearly identifiable, hand-painted style was created for the wares produced at the Fife Pottery. An early advertisement described Wemyss Ware as “The Original Hand-Painted Pottery in Flowers, Fruits, Cocks and Hens”. This cat is a typical example of late nineteenth century decorative design that used vibrant oriental-style colours. Wemyss Ware was named for the Wemyss family at the local Wemyss Castle, and its early shapes were informed by the ceramic antiquities held in the family’s collection. Two Fife Pottery vases, the ‘Lady Eva’ and the ‘Grosvenor’, were named after family members. Aristocratic patronage remained significant in helping Wemyss Ware to become a staple of Edwardian country house furnishing, and goods were displayed by arrangement at local fund-raising bazaars or in a special room at the pottery itself to coincide with visits from dignitaries and Wemyss family relations. Wemyss Ware was also sold in London through the pottery warehouse, T Goode & Co of South Audley Street, who had selling rights in England. A cat very similar to this one has been found impressed with ‘Wemyss Ware, R.H & S’ and stamped with ‘T Goode & Co’s insignia. Ceramic animals, sometimes more commonly associated with the Staffordshire potteries, were a favourite form of parlour ornament in the late nineteenth century with pairs of Wally Dugs, as they were known in Scotland, or ceramic cats being a familiar sight on a middle-class mantlepiece. Each figurine was hand-painted giving individual characteristics to faces and features. The ubiquity of pairs of dogs made them something of a Victorian cliché though cats made at reputable potteries remain highly collectable. Plain and floral Wemyss Ware cats are still made at the Griselda Hill Pottery. Scotland’s rich resources of natural red clay made it home to numerous potteries but production of decorative china like Wemyss Ware was dependent on the availability of fine, white clays that could only be sourced from Cornwall, Devon and Dorset. In an exchange of essential resources, cargoes of china and ball clay from England’s south-western counties were exchanged for Scottish coal that was shipped to England for use in its own manufacturing industries. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wemyss Ware Cat, ca. 1890 aristocratic patronage bazaars collectors design Fife hand-painting pottery Staffordshire http://www.artisansinscotland.shca.ed.ac.uk/files/original/763c535c233ca86370d19258428c8529.jpg f33226a1d1fb81978948173b21a78f8b Exhibition Item Category Wood Image copyright National Museums Scotland Item Location National Museums Scotland Description This wheelwright’s workshop in the hamlet of Fala Dam in a rich agricultural area about twelve miles south of Edinburgh, is a stone-built, pan-tiled structure on two floors with a cottage at one end. It is part of a terrace of cottages, shops and workshops. The roof tiles suggest it was constructed in the later eighteenth century. The wide central entrance and opening above reveal the building’s specialist functions for storing the wood and components of carts and other related goods (such as wheel barrows), with the yard in front given over to the construction or repair, as here, of large wheeled vehicles. There would have been a forge nearby for making the iron components and tyres. Three men are visible in this image, which seems to have been taken in high summer. Another photograph of the same workshop a few years earlier has four men posing outside holding their wood working tools, with rolled-up sleeves and aprons. A great deal of the work undertaken was probably out-of-doors. Indeed, the dismantled cart that dominates this image is so large it could only have been built in a yard. The range of skills practiced in the Fala Dam workshop were the subject of one of the most famous accounts of the life of a late nineteenth-century rural artisan. This was George Sturt’s The Wheelwright’s Shop, published in 1923 but referring to the years from 1884-91 when George and his brother ran a wheelwright business in Farnham in Surrey that had been in family ownership since 1810. In an elegiac account, influenced by Ruskin’s ideas of the moral authority of craftwork, Sturt detailed the techniques employed in making wheels before mechanisation, from the curing of the wood to the selection of the right timbers for strength and durability, to sawing with hand tools and the making and fitting of iron tyres. This is one of several photographs of the workshop that was taken in the late nineteenth century, with variations in the extent of the foliage growing on the building and on the wooden railings suggesting a wide span of years. A photographic postcard from the 1930s also shows the same row of quaint cottages, with the workshop still visible, in a hamlet that was clearly attractive to tourists. Some of the contents of the joiner’s house were donated to the National Museums of Scotland in the 1960s. The buildings still exist today, though are now all converted into smart houses. Though only a small hamlet, the local Post Office directory records that Fala accommodated a range of craft workers in the 1890s, including a cobbler, joiner, builder, thatcher, blacksmith and wright, Walter Stoddart, who is probably one of the men depicted in this photograph. There was also a dressmaker, two grocers, a baker and a butcher, along with a photographer, Robert Lothian, who may have taken this image. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wheelwright’s Workshop, Fala Dam, Midlothian, ca. 1890 blacksmiths Edinburgh iron joiners photographers postcard tools tourist industry Wheelwright wood http://www.artisansinscotland.shca.ed.ac.uk/files/original/e97dbd1b24c6f4ac1d133f15f58d18e7.jpg 33621ee8edbc043e6de9d708203537b7 Exhibition Item Category Textiles Image copyright University of Edinburgh Item Location Private Collection Description This detail of a 19th century christening gown is a typical example of Ayrshire work consisting of firm satin stitches on fine cotton cloth with areas of cut-out cloth which are filled with fine, needlepoint lace stitches. It has a simple design of flowers and a trailing vine worked in a combination of solid satin stitches, curved lines of ‘laddering’, and overcast eyelets that anchor two types of needlepoint fillings. Traditional whitework items included sleeves, chemisettes, baby’s robes, bonnets and trimmings, though changing trends in nineteenth-century fashion also dictated different styles and products. For example, over 200 designs for fashionable embroidered collars were copyright-registered by the firm of Sharps & Co. of Paisley between 1843 and 1844. Irish lace was expensive and worn by only the wealthiest women whereas whitework offered a pleasing, affordable alternative. The whitework industrywas introduced to Ayrshire in the 1820s, with five principal producers listed in the Ayr Post Office Directory by 1830. Its production increased steadily over the next two decades. The New Statistical Accounts of Scotland (1834-45) show that there were nineteen parishes in Ayrshire alone where women were working as muslin embroiderers or ‘flowerers’. The intricacy and delicacy of the work shows the skill of its makers, though the notion of whitework as a congenial cottage industry fails to recognise the scale and speed of its manufacture in the mid-nineteenth century. Outline designs were printed on cloth by Glasgow-based, ‘sewed muslin’ manufacturers who distributed them to Ayrshire embroiderers in a putting-out system of production. Each design was sent with information on how long the embroiderer had to complete it and what rate they would be paid. Skills were passed from mother to daughter with single households often containing more than one sewer. A single hand could complete small items like collars, whereas more complex items such as christening robes could include the work of several women. Unfinished examples suggest that outlines and edgings could be completed by less experienced sewers whereas needlepoint sections demanded the skills of highly experienced embroiderers. Despite the beauty and versatility of Ayrshire whitework changes in fashion and mechanisation led to its decline as a large-scale, home-based craft industry in the 1880s. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Whitework Christening Gown, mid-19th century Ayrshire copyright and patenting design embroiderers Glasgow home industries http://www.artisansinscotland.shca.ed.ac.uk/files/original/693100482291475a3230f58b8327905a.jpg 0a47dbae11e6beca5a83e022669bcdfd Exhibition Item Category Wood Image copyright National Museums Scotland Item Location National Museums Scotland Description This simple wooden cradle is constructed of a single piece of wood and topped with a bent wood circular hood. The end-posts cant steeply inwards and extend below the base of the cradle where they are tenoned to broad plain rockers. Simple round finials top the base end-post and the cradle has the marks of three wooden pegs on each side though two of the pegs on one side are missing. It was found in Weydale, a remote settlement in Caithness and probably dates from the late 18th or early 19th century. Weydale, where this simple cradle was found, is a remote crofting settlement in a valley to the southeast of Thurso, a coastal town known in the late 18th century for its linen production. Weydale was an area defined by its livestock grazing and flagstone quarries. The owner of this cradle may have had it made by a local joiner and it could have been passed down through generations as a family heirloom. Elements of its style and shape were common to many cradles made in the Highlands in the nineteenth century. The cradle’s circular hood, broad rockers and wooden pegs are characteristically Scottish and reflect the needs of communities living in rural dwellings. Hoods were often draped in fabric, perhaps to shut out light or to protect babies from falling ceiling thatch. In line with its humble materials and circumstances the cradle would have been lined with folded blankets or a simple mattress filled with chaff, hay or straw. Broad rockers allowed the cradle to be rocked by foot freeing hands for the knitting or sewing that formed part of the industry of women living in remote rural households. A nineteenth century Scottish cradle song called ‘O can ye sew cushions?’ mirrors the rhythms of rocking and stitching: I biggit the cradle upon the treetop, And aye as the wind blew, my cradle did rock. And hush a baw baby, O ba lil li loo, And hee and baw, birdie, my bonnie wee doo. This cradle has lost some of its pegs, but in its original form six pegs would have anchored woven or knitted tapes that were laced across the top to of the cradle to swaddle the baby and protect it from harm. Writers on Scottish folklore have noted that cradles held rich symbolism in rural communities like Weydale and that a physical criss-crossing of tapes may also have been seen as a form of symbolic protection against evil spirits and fairies. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Wooden Cradle, Caithness, late 18th or early 19th century Caithness crofting Highlands joiners linen Scottish motifs women’s industries http://www.artisansinscotland.shca.ed.ac.uk/files/original/1477ce33b84747a7a1c56bd1d676ad3f.jpg eaa36f24fb878109da53a496ec9eb97d Exhibition Item Category Buildings Image copyright Aberdeen City Council Item Location Aberdeen Maritime Museum Description Traditional skills were mobilised in the service of new industries as well as old ones. This photograph shows a group of the woodworkers and metalworkers employed at the Sandliands Chemical Works near Aberdeen. The range of tools suggests that the men and their apprentices were responsible for maintenance as well as running the factory’s machines. At the centre of the photograph is a blacksmith’s anvil and the boy to the right holds an elaborate bellows. A cooper stands to the left of the photograph next to a group of stacked barrels, while other men hold hammers, specially adapted wrenches or traditional woodworking tools. Sandilands Chemical Works opened in 1848 to process the bi-products of the adjacent Aberdeen Gas Works, though by the end of the century it had diversified into the production of various organic chemicals. The works was owned and run by John Miller, one of three l brothers who were influential in Scotland’s early chemical industries. George Miller & Co ran the Rumford Street Oil Works in Glasgow, and James Miller the Forth and Clyde Oil Works also in Glasgow. All their businesses were dependent on local supplies of coal or gas and the availability of a capable workforce. In 1892 The Scotsman estimated that 1000 to 1300 men worked in the principal branches of Scotland’s chemical industries across five major works and that 220 men worked in the Clydesdale district alone. Yet, much of the workforce was itinerant or temporary with young men forced by circumstances from Ireland making up an estimated 75% of Scotland’s chemical workers and only 5% of the workforce coming from the Scottish Highlands (11th May 1892, p.11). The Sandilands works was known locally as ‘Stinky Millers’ probably due its more noxious products which included asphalt, distilled coal-tar, naptha, benzole, vitriole, manure, sulphuric acid and ammonia. Chemicals were important to the development of several Scottish industries, as components in fertiliser (ammonia water), as a solvent used in the rubber industry (naptha), or in the development of new textile dyes or processes in clothing manufacture. The bitumen, a form of semi-liquid petroleum, produced at Sandilands was used to seal the surfaces of Scotland roads and railways. The skilled artisans in this photograph probably enjoyed better working conditions than those employed as general labourers at the works. Chemicals were a new industry where twelve hour working across seven days was common practice. A witness reporting an 1862 Labour Commission enquiry noted ‘that the only men exempt from Sunday work were joiners, plumbers, coopers and engineers’ (The Scotsman, 11th May 1892). Poor ventilation, inadequate protection and dangerous conditions were common hazards for chemical workers, one man was killed and two were injured in an accident installing an elevated water tank at Sandilands in 1915. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workers at the Sandilands Chemical Works, ca.1910 apprentices blacksmiths coopers engineers joiners new industries railways textiles http://www.artisansinscotland.shca.ed.ac.uk/files/original/4572bd10af1b75a30fc400ddafde4d9c.jpg 0421fc4407e53941551a71796d75a048 Exhibition Item Category Metal Description This unattributed photograph of the interior of a type foundry, which is possibly in London but would have been much the same as those found in Edinburgh, including the firm of Miller & Richards in Chapel Street, shows men and women in the casting shop, with men casting the letters and women dressing the type of excess metal. The men, with their dirty aprons, are stood alongside hot and complex machines where the lead type is cast, whilst the women workers are seated for the less skilled work in a cooler position by the windows. Type founding – the process of making the individual letters that are put together by compositors to make a page of text - began in Scotland with the Glasgow works of Alexander Wilson, who in the 1770s was responsible for the types used by the Foulis Press in the production of beautiful editions of the classics under the patronage of Glasgow University. The punch cutters and engravers who first worked in Scotland were mostly trained in London, but by c.1800 Wilson also employed a number of Scottish craftsmen including William Miller, his foreman, who set up his own business in Edinburgh in 1808. Miller joined with his son-in-law, Walter Richard, in 1842 and the firm of Miller & Richard of 65 Nicholson Street close to the University of Edinburgh, became the largest in Scotland employing over 500 ‘men and boys’ by the 1860s. Metal type was made from a mix of lead, tin and antimony. Before type could be made, however, the first operation was to cut a set of punches in fine steel, which was the most skilled element of the type making process. Many punch cutters were self-employed craftsmen who worked for a number of firms and some of those responsible for the finest typefaces produced in Scotland were London based. In addition to the punchers and type founders, a typical type foundry in the mid nineteenth century would also employ skilled craftsmen to make the wooden and brass frame-work or ‘furniture’ for setting the types. Skilled women were long associated with the book and paper trades, though they were never as well paid as men. Type dressing, sorting and packing was one area of work and also book sewing and cloth binding. Leather binding was normally viewed as a male skill. In a city famed for its publishing and printing houses, women were employed as compositors in Edinburgh from the later nineteenth century, having a higher ratio of women to men in the industry (c.1:10) than in any other city in Britain. A heavily unionised industry, the Scottish Typographical Society formed in 1853 had c.6,500 members at its height. Yet the history of the book trades, with its type foundries, printers, publishers and ancillary trades such as engravers, illustrators and binders, was one of slowly diminishing craft identity, as new technologies undermined old skills. Though it was for many years one of the key employment sectors in Edinburgh the letter press industry largely ended in the 1960s following the wide adoption of offset lithography. The firm of Miller & Richards ceased trading in 1951 and the premises were demolished – a fate that befell most of the workshop premises that once accommodated Edinburgh’s large craft economy in this part of the city. The site that was once occupied by the type foundry is now the location for the Central Edinburgh Mosque. Image copyright Napier University Item Location Napier University Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workers in a Type Foundry, ca. 1910 Brass Edinburgh engravers Glasgow lead leather London unions women’s industries wood http://www.artisansinscotland.shca.ed.ac.uk/files/original/b95040051b68e0e642a79d9f8198d050.jpg 0c7fa3c104cd4509116000a230569190 Exhibition Item Category Buildings Image copyright Tain and District Museums Trust Item Location Tain and District Museum Description This photograph taken by William Smith shows workman carrying out repairs or alterations to the exterior of Balnagown Castle, Kildary, near Tain. Artisans were employed to build new buildings in the nineteenth-century but their skills were also needed to repair and maintain Scotland’s historic structures. The hand-tools in this photograph suggest that the men were slaters or carpenters, both were skilled trades taught through the nineteenth-century apprenticeship system. The men’s ages appear to range from twenty to forty. The man standing at the highest point, though not the most senior in years, was likely the foreman, his status indicated by his starched white collar. Almost all the workmen wear waistcoats and cloth caps, the standard form of dress for skilled manual workers at the time. Some estates employed their own carpenters and road-menders but large-scale building works were most often contracted out to local companies so it wasn't unusual for ‘Notices to Builders’ to be posted in Scottish newspapers advertising for a single firm or contractor to coordinate the work of all the masons, carpenters and slaters required to complete a specific building. Balnagown Castle is the historic home of the Clan Ross chieftains located in the Ross and Cromarty region of the Highlands. The building originates from the thirteenth century though by the time these workmen were employed it had been renovated and expanded by several owners. The rectangular ground plan of the building dates from the 1760s but the Castle was further developed from the mid-nineteenth century. Charles Henry Augustus Frederick Lockhart Ross (1872-1842) was an eccentric character and the inventor of the Ross Rifle. He was the owner of Balnagown in the 1880s and so the likely commissioner of these workmen. William Smith (1824-1906), bookseller, newsagent and photographer had premises in Tain’s High Street from the early 1850s to his death in 1906. Smith’s photographs capture the spectrum of Victorian society featuring subjects as varied as portraits of Tain characters, visiting royalty, and images of craftsmen working outdoors or in their workshops. How Smith took this photograph of a very high turret is unknown though it’s possible he positioned his camera on a lower level of scaffolding. The Balnagown workmen display great confidence in the wooden scaffold that was probably fixed by their own hands. Yet, the dangers of working with heavy materials in high and exposed conditions such as this too often led to accidents and fatalities. An 1881 edition of The Dundee Courier and Argus (17 February) recorded how two slaters fell to their deaths whilst working on the new University of Edinburgh buildings. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workmen at Balnagown Castle, 1880s builders carpenters Highlands photographers slaters Tain http://www.artisansinscotland.shca.ed.ac.uk/files/original/a0a1347cf48b264037a9e95c3d194a7f.jpg 5edd986f19dbf08a0ca05ff4774fd0a4 Exhibition Item Category Textiles Image copyright The Royal Burgh of Lanark Museum Trust Item Location The Royal Burgh of Lanark Museum Description The small royal burgh of Lanark, with a population of c.5,000 in the mid-nineteenth century, was long associated with the handloom weaving industry, that most iconic of the skilled craft trades whose demise in the face of mechanisation and the rise of factory production is often used as a metaphor for the death of the craft economy. At its height, the skilled handloom weaver, processing mainly fine wool or wool and linen mixes, was well-paid, proud of his skill and creativity and independent minded. In Scotland as a whole they were the largest single craft group of the first half of the nineteenth century, with high concentrations in west-central Scotland in Glasgow and Paisley and in smaller towns like Lanark. They were celebrated for their rich cultural life, which extended into poetry and song, natural history and gardening. They were also famed for a sense of community and capacity to engage in collective organization to protect their rights and market position. The connection between handloom weaving and the Paisley shawl was famous, but most nineteenth-century weavers made other textiles including wool tartan in Perthshire and linens for home wares in Fife. This photograph shows one of the last handloom weavers still practising his trade in Lanark. Taken in 1900, it was reported that only five weavers remained in the town. Just twenty years before there were 140 weavers in Lanark. The last to survive, Mr Thomas Chalmers, died in 1938 aged 84. The passing of the age of the handloom weaver generated much commentary in the early twentieth century with frequent images such as this to represent the idea of simpler times when work and home occupied the same space. The photograph, showing an elderly man at his weaving frame in a cottage or small workshop, is artfully posed. To the left is a hearth and cooking range and in the right foreground is a spinning wheel to suggest the relationship between women’s work and men’s work in a domestic or family setting. The latter has been placed for its narrative effect as it is unlikely that the weaver here processed wool generated within his household. Another version of this photograph showing a second elderly man sat smoking by the fireside on the far left of the image, was published as a commercial postcard for tourists. Those few handloom weavers who did survive the coming of the factories made highly specialised textiles for the elite fashion industry, much as they do today. In the highlands and islands of Scotland they focused on fine tweeds, with marketing support from bodies like the Highland Home Industries Association. In the village of Stonehouse near Lanark, there were a few specialised silk scarf and handkerchief weavers working on jacquard looms into the 1930s. In numerous villages and small towns in Scotland there are streets of terraced weaver cottages to remind us of the once flourishing state of the craft and its communities. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workshop of a Handloom Weaver, Lanark ca. 1900 Fife Glasgow Highlands Lanark linen Paisley postcard silk spinning wheel tourist industry weavers wool http://www.artisansinscotland.shca.ed.ac.uk/files/original/d37a1034b3fa6fdad6f3f12289306ee0.jpg a06f5fffe80ed7168c5aaacfcaf33f55 Exhibition Item Category Wood Image copyright National Museums Scotland Item Location National Museums Scotland Description The workshop depicted in this black and white photograph contains the tools and equipment used by several generations of instrument makers at the J. and R. Glen Highland Bagpipe Makers, Edinburgh. Spoon bits, turning chisels, and reamers of various sizes can be seen mounted on the wall next to a mechanised table-top lathe which was used for boring hollows and shaping the pipes of the hand-crafted instruments made at the workshop until the business closed after over 150 years in Edinburgh. Thomas McBean Glen (1804-1873) founded the business in 1826 in the Cowgate in Edinburgh’s Old Town. The shop first opened as a dealer in second-hand instruments but by 1833 Glen is listed in the Edinburgh Post Office directory as a pipe and flute maker. Thomas’s brother Alexander brought the bagpipe making skills to the business which was taken over by Thomas’ sons John Glen (1833-1904) and Robert Glen (1835-1911) in 1866. The workshop moved to several addresses in the Old Town before settling in 1911 at 497 Lawnmarket, at which time Andrew McKay Ross, a relative of the Glens, joined the workshop as a bagpipe maker. In the early years of the century the brothers reputedly employed up to six men, including two French violin makers. As significant makers and collectors of historical instruments the Glen’s shop was a key destination for musicians and enthusiasts. It sold instruments that were made on the premises but also brought-in violins, band instruments, woodwind instruments and drums. The business’s account books survive to show that the Glens purchased their instruments from sellers in Edinburgh and London but sold mostly to customers in the New Town or from Edinburgh’s surrounding districts. Sales are noted to private customers but military and town bands were their best and most frequent customers. In 1848 The Falkland Band purchased 3 flutes, 4 clarinets, 2 french horns, a pair of triangles, a tenor trombone, a trombone, trumpet, ophiclide and a cornocopean, for a total of £21 10s. The Morningside Asylum made a more modest purchase paying 12s for a violin. During their lifetimes the brother’s accumulated a historically significant collection including several items which were shown at the 1872 International Exhibition in South Kensington. Their collection included the earliest known English clarinet, and an Edinburgh-marked key bugle. John Glen’s collection of traditional Scottish music is held at the National Library of Scotland, and Robert bequeathed several significant instruments to the National Museum of Antiquities (now the National Museum of Scotland). Examples of Robert’s collection are now on permanent loan to the University of Edinburgh. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Workshop of J. and R. Glen, Highland Bagpipe Makers, 1970s collectors Edinburgh exhibitions tools wood