Whithorn Library

Whithorn Library, opened in 1911, was designed by the Newton Stewart architect, Alexander Young. The front elevation, in an Arts and Crafts style, is rendered in drydash with terra-cotta brick facings, brick detailing in blue and with a cast concrete door lintel carrying the date and name.

The idea of founding a library for Whithorn appears to have begun in 1896 chiefly through the work of Alex MacFie and J.J. Colquhoun with the backing of Charles Hawthorn, the Provost at the time. A public meeting in October that year unanimously backed the proposal and a committee was elected with McFie as chairman and Colquhoun as secretary. A number of women present offered to collect subscriptions and were so successful that as library was opened two months later in the side-rooms of the New Town Hall, with over 200 books and 100 members.

A further 100 books were added each year and the Ferguson Bequest contributed further volumes. By the end of 1905 space was becoming a problem and the committee approached the family of the late Charles Lockhart of Pittsburgh. He had been a native of Whithorn and made his fortune as one of the founders of the Standard Oil Company which later became Esso. The family agreed to subscribe £300 on condition that a further £200 was raised from another source. A weekend bazaar was held in the New Town Hall on August 1907 and over £300 was raised. However, no suitable premises could be found in Whithorn at the time and the committee decided to temporary re-locate the library to the larger ‘supper-room’ at the rear of the Town Hall.

 Mr Johnston-Stewart, local landowner of Glasserton Estate , offered the site of a old building opposite the Town Hall in St John Street where the present library now stands. It was Mrs Johnston-Stewart who opened the Library on 29th November, 1911. She was presented with a gold key inscribed with the date and her name as a souvenir of the occasion.

When the building opened it had 2,200 books, with space for 800 more, a reading room and a recreation room to the rear. As recreation, 2 billiard tables were installed. One, a full-sized Burroughs and Watt’s table gifted by Rear-Admiral Johnston-Stewart, and the other, a smaller Ashcroft table. At the back of the recreation area was a raised dais for card tables.

The building re-opened in 1995 after extensive refurbishment but the façade, that featured in the film ‘The Wicker Man', was left virtually intact with the exception of a recently added wheelchair ramp. The Library appeared as Summerisle Library in the movie. The exterior shot also showed the children of Summerisle chanting, 'We carry death out of the village'!

Modern Dance from Whithorn

“There has yet to be a comprehensive survey of modern British dance as a continuing tradition…The result of this neglect could be interpreted that there was ‘nothing going on’ in modern dance in Britain before the importation of the Graham* technique from America in the 1960s.”
 “Free dancers at the turn of the twentieth-century such as Isadora Duncan and Maud Allan* generated a British movement of “Helenic” dancers among whom Margaret Morris was the most radical”

(Larraine Nicholas, Dancing in the Margins, from Rethinking Dance History: A Reader, ed. Alexandra Carter, London: Routledge, 2004)

Celtic Ballet

One dancer who played a very active part in the development of modern dance came from the Machars of Galloway. Ronnie Curran grew up at Monrieth, a few miles from Whithorn. Taking dance classes locally, his abilities were clear from a very early age. When he was 11, Ronnie was seen by the Countess of Galloway who also recognised his talent and later supported his training; first in Glasgow under Margaret Morris with Celtic Ballet, then in Manchester with Lisa Ullmann, Sylvia B. Bodmer and Rudolph Laban, “the father of modern dance”. Ronnie later studied with Hans Zullig at the Folkwang School, Essen , Germany.

In 1950, at the age of 20, Ronnie was approached by Sadler’s Wells Ballet but he turned down the offer in order to be one of the founding members of the British Dance Theatre Company. At the time Ronnie said, “The work I am doing is very different from the classical and I do not aim to be a classical dancer. I do not want to have any specific style… My plans are to work with this company and see it grow. I hope it will become a huge organisation and I would like very much to be there to help.”

British Dance Theatre started from the Art of Movement Studio in Manchester but it rehearsed for its first 1951 tour in the hall in Monrieth and went on to perform in Kilmarnock, Newton Stewart, Stranraer and Kirkcudbright. In Newton Stewart, “the audience loved Ronnie, for they saw in him a future star of the ballet, but they also fell in love with the whole Company’s performance.” (Galloway Gazette, June 1951) Dancing barefoot with Ronnie were Sally Archbutt, Allison Buchan, Margaret Fox, Sheila Urquart, Julia Mason and Warren Lamb. They performed 7 pieces, danced to a diverse range of music from Grieg to the South American compositions of Lecuona and Barroso and the blues of Duke Ellington. The pieces took daring contemporary themes such as the guerrilla leader tortured by a prison warder in “And Tomorrow Comes”, the sadness of a childless couple in “Born of Desire” and, in contrast, a lighter, joyful dance in “Bobbysoxers”.
Although first associated with ballet and modern dance in Scotland, Ronnie Curran went on to perform hundreds of dance numbers for television but it was in the satirical revue "For Amusement Only", which played for three years in London's West End, which established him.

Ronnie also appeared in feature films including "I Gotta Horse", "Masque of the Red Death", one of the best horror films ever made, and "Shot in the Dark", possibly the best of the Pink Panther films. For a time he was a visiting lecturer in Further Education working with PE teachers and, at Bromley College, training student TV cameramen. Ronnie was a founder member and principal dancer with West Country Ballet performing to great reviews at the Edinburgh Festival in the early 1960’s. This ballet company, under the directorship of Peter Darrell, later formed the nucleolus of Scottish Ballet.

This year as Scottish Ballet proudly celebrates its 40th anniversary, it is a great pity that the often groundbreaking achievements of dancers like Ronnie Curran have been overshadowed by later events and personalities. Indeed, the concept of taking popular music and dancing to contemporary themes, exhibited, for example, in the recent ballets by Michael Clark at this years Edinburgh Festival, were being put into practice by Ronnie Curran and others at Monrieth and Newton Stewart almost 60 years ago!


* Martha Graham, Isadora Duncan and Maud Allen were all of Scottish descent.

The Oldest Living Thing in Whithorn

Viewing Whithorn in the Google satellite photograph, and in the aerial photograph below, the great domed canopy of the massive beech tree, that grows on the back dyke of the Old Town Hall, stands out.

This beautiful tree has been the climbing frame for many a Whithorn child who carved their initials, sometimes intertwined with their first love, high into its branches. It is difficult to age but perhaps the tree dates from the building of the replacement clock tower in the early 18th Century.

Certainly at that time the pursuit of tree planting was being enthusiastically undertaken in the surrounding countryside according to the report in the First Statistical Account Of Scotland, written 1791-1799. “The face of the country is improving daily, not only by the cultivation bestowed up the land, but by a passion for planting which shows itself among the landowners. From the subterraneous timbers, found in all the mosses, it appears that this peninsula had once been well clothed with Oaks, Firs, Etc. It was afterwards rendered perfectly bare, of every tree and shrub."

"About the year 1722, William Agnew late of Castlewigg, began to plant upon his estate, and may be considered as the father of this important species of this improvement in this neighborhood. His nephew Hugh Hathorne, Esq. Succeeded him, and planted with great spirit and success; so that now, every species of Oak, Ask, Beech, and Fir, are in great perfection in the forest; and these with single rows, verges and clumps, have a very happy effect upon the appearance of the country. The beeches upon this estate are of very large girth, and great height.”

Whithorn's Burgh Surveyed

In 2008 a Burgh Survey was undertaken by Historic Scotland. Working with them, Charles McKean suggested some features in the evolution of the Scottish town, quite distinct from English developments, and looked in particular at this evolution in Whithorn and Tain.

A royal burgh under the control of the prior of Whithorn, and he exerted considerable power as “Whithorn Priory was one of the largest in Scotland”, was erected in 1325. The original layout survives to this day. Whithorn is, “sheltered in a fold in the plateau of southern Galloway, not far from the tip of the peninsular, the town comprises an exceptionally elongated market place – over spacious and attenuated even by David 1st burgh standard. It is narrow at the top by the High or Isle Port Mouth, and at the northern end by Low Port Mouth”. These entry ports offered protection but there is no indication that the town was ever fortified or needed to be. Behind the buildings fronting the market place were long rigs ending in back dykes.

The survey concluded that this “strangely over-ambitious and potentially windswept market place”, that is now George Street, had once been divided, and functioned in three distinct ways. The elements which divided it have now been removed. The Ket Burn, which once flowed openly and was crossed by a timber bridge, has now been piped below street level.

To the south, in the centre of the street just opposite the Roman Catholic Church, once stood the tolbooth. General Roy’s map (above) of 1747 shows a large square building at this point in George Street,described by Bishop Pococke as a “market house….adorned with spire and turrets and prouded with bells”.

To the north, the space between the Ket Burn and the Low Port Mouth, was a sheltered space were travellers from the north would have arrived, indeed it once had at least 3 inns.

To the south, above the site of the tolbooth, the houses on the south-west side still retain there forelands. “The urban form of this section may be the result of this open space being used as a gathering point for pilgrims prior to their formal entry to the priory and the shrine of St. Ninian.”

“Between the Ket and the tolbooth was Whithorn’s principal ceremonial space.” It was once dominated by the mass of the priory with its tower that, “scaled up from the surviving ruins, was likely to be a minimum of forty metres high”, somewhat higher than the Old Town Hall steeple. This area was the town’s market place with the market cross, and the priory gatehouse. Another approach, by a road to the south (King’s Road) brought travellers arriving by sea at the town’s harbour at the Isle.

The survey concludes, “Whithorn is a re-occupied pilgrimage destination of high quality, whose forms and rigs survive with a certain quantity of ancient fabric embedded in re-edified properties. Yet the pilgrimage routes are neither clear nor fully open and since so little is made of the priory church, the ensemble makes little sense at present. The space dividers that used to shape George Street (the tollbooth and the Ket Burn) have been removed or disguised. There is, however, enormous charm in the way that the town folds into the country and its boundaries are still delineated by back dykes to the long rigs.”

Charles McKean proposes that, “with the enormous revival in Europe of pilgrimage to Santiago della Compostella extending as far north as Trondheim. By re-opening the pilgrimage route to the Isle, re-excavating the priory church and representing it so that its scale might again be appreciated, Whithorn could retrieve its part in that European-wide movement.”

The Gold Torque

The Gold Torque by Andrew McMormick, with wood-engravings by Agnes Miller Parker and a foreword by Philippa, Countess of Galloway, was publish by William MacLellan, Glasgow, in 1951.

The story of the Gold Toque follows the move from pagan to Christian beliefs by a tribe settled in the ancient Forest of Galloway.

Cairnsmore

Princess Efta, Prince Ruari, Saint Ninian and the Bridal Stane

The author, Andrew McCormick was the Provost of Newton Stewart and a local solicitor. He recorded many aspects of gypsy life in Galloway and for part of his life lived and wrote in a hut in the woods at Minnigaff where much of the Gold Torque is set.

The Discerning Squirrels

The illustrator, Agnes Miller Parker (1895-1980), was born in Irvine and educated at the Glasgow School of Art. She dedicated her career to book illustration and printmaking, becoming one of Britain's foremost wood engravers. Parker married a fellow student from Glasgow, William McCance the Scottish painter and sculptor in 1918. Working for a time with the Gregynog Press and living in England for most of her life, she returned in the 1950’s to Lamlash. Many of Parker's personal papers, including letters, sketches and proofs for illustrations, are held today by the Manuscripts Division of the National Library of Scotland.

The Pigot and Slater Commercial Directories of Whithorn

The 19th Century Commercial Directories of Pigot and Slater provide an unrivalled economic and social snapshot of Scottish communities.

Here are three entries for Whithorn that list the trades and professions of the town. The first is from Pigot & Co's National Commercial Directory of the Whole of Scotland of 1825.

Below, taken from Pigot & Co's Directory of 1837.

Finally, from Slater's Directory of 1852.

The illustrations are from An Alphabet by William Nicholson, 1898.

Whithorn Manse

Whithorn Manse

I knew it as Eden,

that lost walled garden,

past the green edge

of priory and village;

and, bejond it, the house,

whithdrawn, white,

one window alight.

Returning, I wonder,

idly, uneasily,

what eyes from inside

look out now, not in,

as once mine did,

and what might grant me

a right of entry?

Is it never dead, then,

that need of an Eden?

Even this evening,

estranged by age,

I ogle that light

with a child's greed,

wistfully claiming

lost perogatives

of homecoming.

Alastair Reid was born at the manse in Whithorn in 1926. Since World War Two he has lived in the United States, France, Spain, Greece, Switzerland and Central and Southern America.

He has published over twenty books – poetry, translations, collections of prose and books for children – and has himself been much translated. Since 1951, he has contributed to the New Yorker Magazine which, with his other work has established for him a worldwide reputation.

Whithorn Business Association sought funds to have a number of plaques sited in the town to record aspects of Whithorn's history and honour its more famous inhabitants. This plaque is on Bruce Street, the road to the Church, where his father was minister, and to the manse, Alastair Reid's first home.

On 7th October 1999, as part of National Poetry Day, the poem was published as a postcard.

The Saint Ninian Reliquary

The venerated bones of St Ninian were entombed in Whithorn Cathedral and over the centuries countless pilgrims travelled to see and touch them. In the early 1500’s, James IV ensured the safekeeping of the Saints’s arm bone by paying for a silver reliquary to be made for it. Following the Reformation this reliquary was taken to the Scots Seminary at Douai in France where it remained until the Revolution in 1789. From that date to the present day, all trace of the Saint’s historic arn relic appears to have been lost.

But another reliquary, which almost certainly is from Whithorn, survives.

This gold reliquary was purchased by the British Museum in 1946. Its lettering and design date it from the last quarter of the 12th Century. It is only 5cm in diameter and is 3cm deep. The front has three small fragments from the True Cross surrounded by sea pearls and covered with a domed block of crystal, acting as a magnifying glass. The reverse was covered by a gold disc with small settings intended to hold relics. On the edging band is an inscription listing the Saints whose fragments of bone are carried in the settings.

SE XPSTI – NINIANI – ANDRE EX MAURIS – GEORGII – MERG’ – D’NOR’ – FERG’ – BO NEF – SE MARIE

The list begins with the True Cross and ends with the Virgin Mary, giving Christ and His Mother the place of honour. The second place on the list is held by St Ninian indicating that the reliquary was made for a church connected with the Saint. This is reinforced by the inclusion of Saint Norbet (D’NOR), the founder of the Order of Premonstratension canons. Whithorn was the most important centre in Scotland of this Order. St Fergus was a Pictish Bishop of the 8th century and this would point to the rebuilding of Whithorn Cathedral by Fergus, Lord of Galloway, who may have commissioned the reliquary and would have wished to see a relic of the Saint, whose name he bore, included. The other saints listed are St George, St Margaret and St Boniface.

The reliquary has recently gone on show in the new Medieval Room in the British Museum. Such a magnificent reliquary should be returned, even briefly, to its home and loaned to the Whithorn Trust for exhibition.