Article on John Douglas – Lincluden’s Head Gardener available to download as a pdf….
Click to download:- John Douglas (1783-1869) Lincluden’s Head Gardener (PDF)
Article on John Douglas – Lincluden’s Head Gardener available to download as a pdf….
Click to download:- John Douglas (1783-1869) Lincluden’s Head Gardener (PDF)
This story was sent to Jimmy Gordon’s wife, Bud, who has kindly allowed us to put it on our website. It tells how the sampler was discovered and how it came to be reunited with the Gordon Family.
Letter from Jill
“About a week ago I received an email from Janet Martin, a friend who lives in Hervey Bay, north of Brisbane. We both have Gordon ancestors but they don’t connect. Our paths have crossed many times during our searches because we share information we think might benefit the other. Janet wondered whether I might know of a J Gordon who stitched a sampler in 1846; Janet had received an enquiry from an antique dealer in Newcastle, New South Wales, who was selling a sampler she had bought in the 1990s in Christchurch, New Zealand. The dealer had found Janet Martin’s family tree on the internet and explained that she was now selling the sampler and was trying to trace any Gordon descendants to offer it to them before advertising it for general sale on the internet. As soon as I saw the initials I recognized that this was, indeed, our family, and the little seven year old girl who stitched it was Jessie Gordon of Twynholm Manse.
Janet (Jessie) Gordon married a draper, Robert Symington, and they emigrated to New Zealand where he set up a business in first Lyttelton, and later Christchurch. They did very well and eventually Janet’s brother, John and his wife, Barbara Houston, joined them out there. Both Barbara and Janet lost baby girls within six months of each other and the infants are buried in a cemetery in Christchurch, but even worse, poor Jessie’s health deteriorated with the birth of each child and I think the death of baby Lilias tipped her over the edge. Her mental health was so bad that Robert eventually had to take her home to Scotland and she finished up in the Royal Murray Home for the Insane in Perth.
Robert brought up the remaining children, Penelope and Walter, in the UK but their mother was hopelessly insane and lived in the institution until her death in 1909.
Walter became a marine engineer and returned to New Zealand where he married and had one son, Robert Henry Symington. Robert became a Chartered Accountant and he married Reta Brown; they lived in Southampton Street, Christchurch but they had no children so the line died out completely.
Probably Penelope, who lived in London, had the sampler until she died in 1936 (she did not marry) and then it would have been sent out to Robert as the only direct descendant still living.
I visited Christchurch a couple of times and tracked down the homes where Walter and Robert lived and even found a neighbour who remembered Robert and his wife. Robert Henry died in 1984 and his widow Reta died in the early 1990s and this would fit with the acquisition of the sampler about that time by the antique dealer who has now sold it to me.
What a story all this is. Knowing how I feel about family history you will appreciate how important the sampler is to me. I am still shaking my head in wonder that it has “come home” in this way. You can imagine how I felt when I realised the significance of the sampler and the stroke of good fortune that resulted in my purchasing it!
I have now sourced a framer who can reframe it with acid free backing and UV resistant glass so that it will not fade. It is 171 years old and I hope the conservation process will ensure it survives another few centuries!”
Details of the sampler.
The first six lines of the sampler are the alphabet, and the seventh line numbers one to fifteen.
Then she begins with her family and the initials are as follows:
JG (her father, John) PG (her mother, Penelope) [These were Jimmy’s great grandparents]
MG (Mary, born 1837) JG (John, born 1839 – he’s the one we call Rascal John because he had a rather interesting history for a son of the manse!)
JG (James, born 1841) ((Jimmy’s grandfather) PJG (Penelope Jane, born 1842 CDG (Catherine Douglas born 1843) TG (Thomas born 1844) MEG (Margaret Elizabeth, born 1846)
[Jessie was born in 1838 but does not include her initials as her name is on the bottom of the sampler. She also had one more brother, William Ireland, but he was born in 1847 and this sampler was stitched in 1846]
Then she gives her aunt and uncle,
MG TG (this is Mary Corrie and Janet’s uncle, Thomas Gordon) Their children,
MG (Margaret born 1843) JG (John born 1841) MG (Mary born 1844) Then comes my lot: SG AG (my great, great grandparents, Samuel Gordon and wife Alicia McCallum) Their children:
JG (John, my g. grandfather born 1840) AG (Alicia Julia McLean born 1842) AG (Alexander McCallum born 1843) MG (Mary born 1844) RS MG (these are her Aunt Mary Gordon who married Robert Stobo) Their children
SS (Sarah born 1841) MS (Mary born 1842) ES (Elizabeth born 1844) JW JW (these are her aunt Janet Gordon who married James Williamson) JW (John born 1830) MW (Margaret born 1832) JW (James born 1835) GW (Gordon born 1835) JW (Jane born 1837) IW (Isabella born 1839) AW (Alexander born 1842) TW (Thomas born 1844) and then she repeats her own parents and siblings.
(More photographs and details of the Gordon Family can be found in the Gallery part of the Society website.)
We are grateful to Michael for contributing this article.
Please click on the PDF link below
The Haill Six Incorporated Trades of Kirkcudbright were established in the town in 1425. In this year it was enacted that ‘every craft in the town should choose a wise man’, a Deacon to ‘govern and assay’ all its handiwork. The Trades were set up in direct opposition to the Merchant Guilds which held disproportionate influence in the community and who had amassed enormous wealth.
Membership of the Trades was much sought after as it allowed in many cases, the right to be a sole trader in the town. The Government of the 15th century quickly realised that the powers enacted on the Trades conferred too much influence on the Deacons. Their duties were soon restricted to a fortnightly enquiry into the skill of its members and quality of work produced. The position of Deacon was summarily abolished. The Trades men refused to accept this and continued to elect Deacons, an act which was seditious.
The kingdom of Rheged is probably the most elusive of all the sixth century kingdoms of Dark Age Britain. Despite contributing a rich source of some of the earliest medieval poetry to be composed in Britain – the poetry of Taliesin who extolled the prowess of its king, Urien of Rheged – and fragments of early medieval historical records of Urien’s dominance in southern Scotland and northern England, the actual location of Rheged has long been shrouded in mystery.
While many historians have assumed it was centred around Carlisle and Cumbria, no evidence has ever been found to back this up. However, new archaeological evidence from the excavation of Trusty’s Hill Fort at Gatehouse of Fleet in Dumfries and Galloway now challenges this assumption.
‘What drew us to Trusty’s Hill were Pictish symbols carved on to bedrock here, which are unique in this region and far to the south of where Pictish carvings are normally found,’ said Ronan Toolis, who led the excavation, which involved the participation of over 60 local volunteers. ‘The Galloway Picts Project was launched in 2012 to recover evidence for the archaeological context of these carvings but far from validating the existence of ‘Galloway Picts’, the archaeological context revealed by our excavation instead suggests the carvings relate to a royal stronghold and place of inauguration for the local Britons of Galloway around AD 600. Examined in the context of contemporary sites across Scotland and northern England, the archaeological evidence suggests that Galloway may have been the heart of the lost Dark Age kingdom of Rheged, a kingdom that was in the late sixth century pre-eminent amongst the kingdoms of the north.’
The excavation revealed in the decades around AD 600, the summit of the hill was fortified with a timber-laced stone rampart. Anyone approaching the entrance to the fort on Trusty’s Hill passed between a rock-cut basin on one flank and an outcrop on which two Pictish symbols were carved on the other. This formed a symbolic entranceway, a literal rite of passage, where rituals of royal inauguration were conducted. On entering the summit citadel one may have been greeted with the sight of the king’s hall at the highest part of the hill on the west side, where feasting took place, and the workshop of his master smith occupying a slightly lower area on the eastern side, where gold, silver bronze and iron were worked. The layout of this fort was complex, each element deliberately formed to exhibit the power and status of its household.
‘The people living on Trusty’s Hill were not engaged in agriculture themselves,’ said excavation co-director Dr Christopher Bowles. ‘Instead, this household’s wealth relied on their control of farming, animal husbandry and the management of local natural resources – minerals and timber – from an estate probably spanning the wider landscape of the Fleet valley and estuary. Control was maintained by bonding the people of this land and the districts beyond to the royal household, by gifts, promises of protection and the bounties of raiding and warfare.’
It is in this context that the Pictish symbols at Trusty’s Hill can now be viewed. The new analysis of the symbols here leave no doubt that the symbols are genuine early medieval carvings, likely created by a local Briton, melding innovation, contacts with the wider world and deep seated traditions.
‘The literal meaning of the symbols at Trusty’s Hill, will probably never be known. There is no Pictish Rosetta Stone,’ said Ronan Toolis. ‘But these symbols and the material culture we recovered provide significant evidence for the initial cross cultural exchanges that forged the notion of kingship in early medieval Scotland.’
‘The new archaeological evidence from Trusty’s Hill enhances our perception of power, politics, economy and culture at a time when the foundations for the kingdoms of Scotland, England and Wales were being laid,’ said Dr Bowles. ‘The 2012 excavations show that Trusty’s Hill was likely the royal seat of Rheged, a kingdom that had Galloway as its heartland. This was a place of religious, cultural and political innovation whose contribution to culture in Scotland has perhaps not been given due recognition. Yet the influence of Rheged, with Trusty’s Hill at its secular heart, Whithorn as its religious centre, Taliesin its poetic master and Urien its most famous king, has nevertheless rippled through the history and literature of Scotland and beyond.’
The Lost Dark Age Kingdom of Rheged by Ronan Toolis and Christopher Bowles is published by Oxbow Books.
For more information about the Galloway Picts Project, visit: www.gallowaypicts.com
The Galloway Picts Project was supported by the Dumfriesshire and Galloway Natural History and Antiquarian Society, the Heritage Lottery Fund, the Society of Antiquaries of Scotland, GUARD Archaeology Ltd, the Mouswald Trust, the Hunter Archaeological & Historical Trust, the Strathmartine Trust, the Gatehouse Development Initiative, the John Younger Trust, the Galloway Preservation Society and Historic Environment Scotland.
William Nicholson was born in 1783 at Tannymas in the parish of Borgue, the youngest of eight children. His father was a carrier, then a farmer and finally a publican in Ringford, or Red Lion as it was known then. William went to school there but he was a very reluctant pupil. He suffered a defect of vision which, when reading, obliged him to hold the book almost to his nose which led to mocking by other pupils. The consequence was, that after simply learning to read indifferently, and gaining a very slight knowledge of the commonest rules of arithmetic, a subject which he hated, he bade farewell to school altogether, never to return. By the age of fourteen, Nicholson had taken up the trade of packman which involved him in selling his wares from town to town and farm to farm. Apparently he was extremely handsome as we can perhaps gauge from the painting by the Gatehouse of Fleet artist John Faed RSA and, at 5ft 10in, he was tall for the period. (Image reproduced courtesy of the Stewartry Museum)
His story-telling ability and affable personality probably helped him persuade customers to purchase his goods. Trade was very much affected by the price of muslin which fluctuated greatly.
In much the same way as in the case of Robert Burns, Nicholson’s mother used to tell him stories and he credits her with being his poetic inspiration. He absorbed ballads, songs, and penny histories in fact every kind of mental food, in short, which came within reach was eagerly seized upon. Long before he was attracted to poetry he contacted a great fondness for music and was in the habit of enlivening the families who hosted him on his travels with his wood notes wild. His ear was excellent and his voice passingly melodic and strong, and he purchased a set of bagpipes when he was 20. This enable him to give additional zest to his minstrelsy. His talent for wit and observation made him a favourite. It was said he could have journeyed 100 miles at a stretch without being at a loss for a meal or a lodging or putting himself to almost a farthing of expense.
However, he was always busy composing tunes so he did not give full attention to his packman duties. Alex Trotter in an article on Nicholson in his East Galloway Sketches records the occasion when a Mr Johnstone from Kirkcudbright found Oor Wull piping away in a quarry with half a dozen colts “capering about like mad to the sound of the bagpipes throwing their heels and snorting out their applause at the performance.”
However, in his late twenties he was encouraged by the Rev Henry Duncan of Ruthwell (famous for starting the world’s first savings bank) to publish some of his poetry which he did in 1814 at the age of 31. One of his poems The Brownie of Bladnoch was the inspiration for a painting by the Kirkcudbright artist Edward Atkinson Hornel now in the Kelvingrove Art Gallery and Museum, Glasgow (reproduced courtesy of Glasgow Museums).
He was also greatly helped and encouraged by James Hogg, the eminent Scottish poet known as the Ettick Shepherd when they met whilst William stayed in the capital. He encouraged him to construct a narrative poem and the result was one of his best, A Country Lass. A long poem in eight parts it tells the story of the wooing of a country lass by various men about the parish all based on well-known local folk. Donsie Davie, a farmer’s eldest son, he was beef without and blank within so he was dispatched; the Kirkless priest who had too strong carnal desire and overstepped the mark; then Sandy the shepherd who looked the most likely but he was being edged out in favour of the wylie merchant who had a big hoose and plenty money and was charming Betty’s mother but then Betty discovers he has an illegitimate child by a young beggar woman who had been tricked by him. So she eventually returns to the arms of Sandy the shepherd. The poem provides a fascinating commentary on life at the beginning of the nineteenth century – religion, mercantile trade and agriculture.
He had managed to raise an incredible 1500 subscribers for the work. So the same pack that had been filled with bobbins and needles cotton and threads was now filled with a different kind of ware and after supplying Edinburgh and Glasgow he wended his way homeward through Ayrshire and Galloway “delivering copies and hauling in the siller.” The collection of poems raised a very welcome £100. He promptly lost it all when the price of muslin nosedived.
However, his fame spread as his poems gained critical acclaim. Perhaps not surprisingly, when we reflect on his topsy-turvy life to this point, this success played on his weaknesses and drinking became a major problem. He began seeing demons and obtained from them the answers to the world’s problems. So what does our Wull do? Armed with these earth-shaking revelations entitled ‘Universal Redemption’, and his poetry, he traveled to London to inform the King of what needed to be done to save the world. He failed in his request to meet the King but left a copy of his writings on the subject for the King to read later.
His time in London was not a happy one and he was mugged on several occasions and got lost even more frequently. Fortunately a group of Gallovidians, including another Borgue boy John Mactaggart secured a passage to Leith from whence he returned home. A second edition of his poems appeared in 1828. Little is recorded about what happened to him after this except that he is supposed to have led a quiet, contemplative life accepting the charity of his loyal Gallovidian friends and accepting poor relief until he died at Kildarroch, Borgue, on 24th May 1849 at the age of 65.
His gravestone can be seen in the graveyard at Kirkandrews. The inscription set on it by his brother John reads, ‘No future age shall see his name expire’ so we can consider ourselves as helping to prevent his name from expiring.
In 1900, some 51 years after his death, a plaque was erected outside Borgue Academy as it was known then. Still prominent on the wall around what is now the Borgue Primary School, the bronze plaque was sculpted by Mr. Shannon of Glasgow and is based on the portrait by John Faed.
His wide ranging presentation entitled “Burns and Birds” was an intriguing blend of History, Geography Literature, Poetry, Song and Ornithology. Clearly and enthusiastically delivered, it was warmly appreciated by members and visitors.
“Gie me ae spark o’ Nature’s fire that’s a’ the learning I desire” (wrote Burns) and Chris Rollie explained how learned and knowledgeable was Burns about nature in general (things like flowers, trees, mammals and fish) and birds in particular.
Clearly and logically presented; accompanied by a “then” and “now” selection of dozens of revealing pictures; and with a “finale” of a short sound and colour movie of a journey recorded in the 1960’s, speaker Angus Rex, skillfully lead his audience down memory lane on the subject of “The forgotten Railways of Galloway”.
Many members of the audience had used the network of railways of Galloway as children or young adults, before the closure of the Kirkcudbright Railway branch line to Castle Douglas, so for them this was a nostalgic trip into recent history.