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Cathedral Festival Exhibition 131 August 2013 2013 St Marys Cathedral, Palmerston Place, Edinburgh All rights reserved.
Catalogue
Exhibits loaned by
The City of Edinburgh Council The Court of the Lord Lyon The Convenery of the Trades of Edinburgh The Rt. Hon. The Earl of Crawford & Balcarres KT Mr & Mrs Drummond-Murray of Mastrick The Rt Hon the Earl of Erroll, Lord High Constable of Scotland First Saddlery, Rowallan Activity Centre, Fenwick Henry Steuart Fothringham of Grantully OBE The Grotrian Family The Heraldry Society of Scotland Historic Scotland The Incorporation of Goldsmiths The Hon Alexander Lindsay The National Trust for Scotland The Most Ancient and Most Noble Order of the Thistle The Royal Scots Dragoon Guards Museum Scone Palace Mr John Stirling WS St Marys Cathedral, Edinburgh The Walker Trust
Photography
Colin Dickson (excepting items 3 & 38)
Design
Oliver Brewer
FOREWORD
The Provost of St Marys Cathedral
Welcome to the Cathedral and to this wonderful exhibition. Every summer the Cathedral hosts an exhibition, and this summers is probably the best yet! In partnership with the National Trust for Scotland the Bannockburn Heraldic Banners are gracing the Cathedral Nave, bringing both a splash of colour and a reminder of our history. The Queen and the Duke of Edinburgh frequently grace Edinburgh with their presence, and indeed The Princess Royal is the Visitor of St Marys Cathedrals Stonemason Workshop, but our exhibition of King George IVs visit to Scotland takes us back to 19th century Edinburgh and a time when St Marys Cathedral was not. Enjoy this exhibition. Admire the heraldic banners and indeed the work of the National Trust for Scotland all over the country. Find out about Patrick Walker, the Walker sisters, the Walker Trust, and how this Cathedral came to be built. Finally I pay tribute to all those who made this exhibition actually happen so that we can treasure these parts of our heritage. The Very Revd Dr Graham Forbes CBE
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When the Procession had proceeded a short way up Leith Walk, the White Rod, supported by Marchmont and Islay Heralds, preceded by two state trumpeters, and attended by two Pursuivants, advanced to give a summons to the city in time to prevent the procession being stopped until the barrier was opened. When within sixty or seventy yards of the barrier, a flourish of trumpets was givena second at about thirty yards distant and a third when they reached the barrierMarchmont Herald was here directed to summon the city which he did by giving three knocks on the barrier.1
After a formal exchange between the Herald and the Chamberlain of the city who keeps the keys, the Herald presented himself to the Lord Provost and declared:
My LordI have the honour of announcing to your Lordship the very near approach of our most gracious sovereign King to visit his most loyal and ancient capital of Scotland, and I am commanded to request admittance to the city for himself and retinue. The Lord Provost expressed his readiness to comply with the demand and immediately ordered the gates to be thrown open to admit the King. The Usher of the White Rod took off his hat, and made his obeisance.2
A short ceremony of the presentation and return of the keys ensued, then the cavalcade progressed, amid cheering crowds, to the Palace of Holyroodhouse, where its Hereditary Keeper, the Duke of Hamilton, received the King and where the Usher of the White Rod, among others, had the honour of kissing hands.
(Sandra Marwick is currently writing a monograph on Sir Patrick Walker.)
Scotsman 17 August 1822, Morning Chronicle, 19 August 1822. Robert Mudie in his Historical Account, The Times, 19 August, Norfolk Telegraph, 21 August and Ipswich Journal, 24 August, say that the Depute Lyon King at Arms and the Usher of the White Rod preceded by two Heralds galloped to the gate and after a flourish of trumpets, the Usher knocked three times at the gate. The Scotsman and Caledonian Mercury accounts seem more plausible, being more ceremonial with an appropriate role allocated to the Herald. 2 Caledonian Mercury, 17 August 1822.
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Fibreglass copy of a panel which was once mounted on the boundary wall of Paisley Abbey in Renfrewshire. It is the earliest extant example of the Royal Arms with thistles. For a brief period the Royal Arms were shown in this way without the upper part of the border of fleurs de lys.
(RESURRECTION CHAPEL) Loaned by the Heraldry Society of Scotland
7. INVITATION
Invitation to Peter Wood, owner of a whale fishery business in Leith, to attend a reception in the City Chambers on 24 August 1822. (Resurrection Chapel) Loaned by Historic Scotland Presently housed at Trinity House, Leith
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John Clark Edinburgh 1765, in three sections, the screw off finial modelled as a unicorn, well cast, gilt chains and bearing the shield of a tressured lion, and motto Nemo me impune lacessit on the two sectioned rod with gilt central knop and ball terminal and engraved armorials. This was made for Sir James Cockburn when he bought back the office of Usher in 1766 and probably retrieved by Patrick Walker under a Bill of Discovery and Delivery.
(RESURRECTION CHAPEL) Owned by the Walker Trust Presently housed in the National Museum of Scotland.
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(Pictured on front cover.) White rod, with cast finial modelled as a unicorn with gilt details and chains holding a shield with enamelled tressured lion standing on a base with enamel border and motto Nemo me impune lacessit and a collar with plain shaft, gilt collars and an enamelled thistle terminal. Royal Arms engraved on the base. Presented in a red leather case made by Rundell, Bridge and Rundell, London. Although Patrick Walker (knighted in 1814) held the office of Gentleman Usher of the White Rod from 1805, he did not receive his insignia until 1817. For the coronation of George IV in 1821, all officers of state received new insignia, with the exception of White Rodfor bureaucratic reasons. An aggrieved Sir Patrick pursued his claim with the Lord Chamberlain. You must be aware how necessary it is that an Issue should be made to me my whole Official equipment having been so much injured during his Majestys visit to Scotland as to make them unfit to appear again. In 1825 Messrs Rundell, Bridge and Co received directions for: a Rod, part silver part gold, arms of Scotland and chased, a gold enamelled Badge, a gold chain collar, 3 roses and Gold Thistle in the centre Morocco cases for ditto.
(RESURRECTION CHAPEL) Owned by the Walker Trust Presently housed in the National Museum of Scotland
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19. HATCHMENT
Pre-Need Hatchment prepared against the demise of W.E.P.L. DrummondMurray of Mastrick and his wife Barbara Hope showing their respective arms
On the death of one, the background will be painted black on the appropriate half of the hatchment, and the balance will then be painted in on the demise of the survivor. (Resurrection Chapel) By permission of Mr & Mrs Drummond-Murray of Mastrick
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The White Rod (Sir Patrick Walker) followed the Lyon King, and wore the superb jacket of crimson and gold which he had used at the coronation, but which was concealed, in a great measure, by a splendid mantle of white satin, lined throughout with crimson, and fastened with a cord of gold and crimson. His lower vestments were of crimson, and he had on brown boots adorned with gold tassels and fringe, and a black velvet Spanish cap looped with gold, and with a black feather. His horse was almost covered with a scarlet shabrach edged with white lace, and adorned at the corners with silver thistles. The bridle was of white satin, with crimson rosettes. Robert Mudie, Historical Account of His Majestys Visit to Scotland, 1822
(RESURRECTION CHAPEL) Original clothes loaned by the Walker Trust Presently housed in the National Museum of Scotland. Horse loaned by First Saddlery at Rowallan Activity Centre, Fenwick
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Photograph of Oil Painting by Alexander Carse (17701843) Carse worked for David Allan before the artists death in 1796, and received some artistic training from him. Allans influence on Carses work is evident. In 1801 Carse attended the Trustees Academy in Edinburgh, but he failed to achieve the success of contemporaries such as David Wilkie.
(RESURRECTION CHAPEL) Owned by The City of Edinburgh Council Presently housed in Leith Police Station
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Photograph of Engraving A wooden archway was erected at the top of Picardy Place to mark the entrance of the King to the City of Edinburgh. For further description, see page 7. Illustrated in Robert Mudie, Historical Account of His Majestys Visit, 1822.
(RESURRECTION CHAPEL) Owned by The City of Edinburgh Council
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A Knight (denoting the ancient MacDuff) armed at all points on a horse at full speed, in his dexter hand a sword erected all Proper, his jupon Argent, on his sinister arm a shield Or, charged with a lion rampant Gules, the visor of his helmet shut, over which, on a Wreath of his liveries with a long Mantling flowing therefrom behind him and ending in a tassel of the Fourth; the doubling of the Third, is set a lion rampant issuing out of the wreath of the Third and Fourth; the caparisons of the horse Gules, fimbriated Or and thereon six shields of the last, each charged with a lion rampant of the Fourth.
(RESURRECTION CHAPEL) Loaned by The Most Ancient and Most Noble Order of the Thistle
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until Walter Scott persuaded the Prince Regent to appoint a Commission to open the sealed box. Sir Patrick Walker was thwarted in his attempt to be present at the opening, not being one of the Commissioners, but when this event took place on 4 February 1818, they discovered, along with the Crown, Sceptre and Sword, a silver rod of office. Sir Patrick had no doubts as to the rod being the Ancient White Rod of Scotland that was always carried by the Usher when attending the Regalia. Unfortunately for Sir Patrick the silver rod was not the ancient White Rod of Scotland, nor was it the mace of the Lord High Treasurer of Scotland, as Sir Walter Scott supposed it to be. It was made by the London goldsmith, Francis Garthorn and it is a sceptre, not a mace. More recent research shows it to be the Sceptre of the Duke of York (the future King James VII & II), who was Lord High Commissioner in Scotland for his brother, King Charles II, in the early 1680s.
(RESURRECTION CHAPEL) Loaned by Scone Palace
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ACKNOWLEDGEMENTS
An exhibition of this sort cannot take place without the help and generosity of many people, and the Cathedral would like to thank all those who have kindly made exhibits available to us. To all those people who have helped in so many ways with advice, practical help and physical support we are deeply grateful, they include: The Lord Provost of The City of Edinburgh for his support from the start and for speaking at the Reception, and The Lord Lyon King of Arms for also speaking at the Reception; Foreman Andrew Ramsay, Chargehand Jordan Kirk and the apprentices of St Marys Cathedral Workshop for hanging banners, transporting exhibits, and helping to put up the exhibition; Patsy Mair of the Costume Society and Anna Beard for help and advice with clothes and design; the John Lewis Partnership, St Columbas Shop West End and Edinburgh Napier University for props; Pete Clark and Ron Shaw for the Neil Gow music performed at the Reception; Heather Macpherson from the National Trust for Scotland for her support with publicity; Mary Hope for sourcing Sir Patricks horse from Alex Scott and Karene Wallace of First Saddlery in Fenwickeverybody said she would never find one! Rosemary Noble for lending the horses saddle and bridle; George Dalgleish, Keeper of Scottish History and Archaeology at the National Museum of Scotland, for being a source of kindness and erudition about The White Rods and Chains of Office, and Vicky Brown, his Assistant Curator, for her endless patience with frequent emails and questions; Ruthven Gemmell for arranging for Sir Patricks portrait to be copied; St Marys Music School for lending easels and Clara Hyder, Chris Roberts, Aaron Akugbo and David Swan from St Marys Music School for playing the trumpet at the Reception; Arran Johnson for dramatic effects; Elspeth Bruce at Scone Palace; Philip Henderson, Diana Scott and Lesley Ellen at the City of Edinburgh Council for their constant supportas always; The Rt Revd Brian Smith for encouragement especially in the early uncertain stages; Mark Muir and John Rae of Police Scotland for unflagging kindness and patience with photographic sessions at Leith Police Station; Robin Maclean and Jamie Erskine at the Royal Scots Dragoon Guards Museum for advice and lending us their splendid Trooper; Caroline Buchanan and Diana Gordon-Smith who were encouraging early on; Hugh Morrison at Historic Scotland; Mary Michel from the Incorporation of Goldsmiths; Colin Dickson for constant support and photography; Oliver Brewer in the Cathedral office for the catalogue design; Judith Lewis also in the Cathedral office; Jim Bremner and Dorothy Innes for being honest soundboards; all the many volunteers, friends and supporters for stewarding the exhibition. Lastly, thanks to Maud Crawford and Gordon Prestoungrange who first lit the spark that became this exhibition.