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scotianostra · 1 year ago

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On October 8th 1774 the Rev. Henry Duncan, founder of the first ever savings bank, was born at the Duncan Manse in Lochrutton, near Dumfries.

As a young man his education started at Dumfries academy he would go on to study at St. Andrews, Edinburgh, and Glasgow. About this time the Duncan Manse was visited by Rabbie Burns himself. Henry's father told his sons "Look well boys, at Mr. Burns for you'll never see so great a genius." At age sixteen in a move that foreshadows his later life he followed his two brothers to Liverpool to work at Heywoods bank. However finding Liverpool full of Englishman he only stayed three years.

At age nineteen he returned to his studies and prepared to become a minister. He was following in the footsteps of his father and grandfather. Through both sides of his family he was connected to 150 clerics. At age 24 he received his license as a preacher. In 1799 he was offered three pulpits Ireland, Lochmaben and Ruthwell. Ruthwell was the poorest post of the three but the lure of his home area took him there. As a minister in Ruthwell his main concern was the poor and trying to help them.

Henry Duncan founded two newspapers and wrote essays under the title "The Cottage Fireside" However what he is most known for is the founding of Scotland's first savings bank in 1810. Henry worked hard against unfair treatment of people wherever he saw it.

This included working for fair treatment of Catholics as well as being a abolitionist. Because of his great concern for the poor he started his bank. He wanted financial independence for everyday people. He felt government handouts were degrading and crushed the spirit. His bank proved a success. After a year he had deposits worth 151 pounds a high amount considering the poverty of Ruthwell. The cottage where the bank started is now a museum and can be visited year round.

Within five yrs banks based on his concept were found all over thecountry. During this time he went to London to have formal legislation passed, in order to protect depositors. He paid for the expense out of his own pocket, including hiring a replacement minister for Ruthwell while he was gone.

Other than his bank Henry is most known for restoring the Ruthwell cross. The cross is 18 feet tall and dates from around the mid 7th century. However the dour church leaders after the reformation didn't approve of it and it was broken up in 1642. Henry discovered parts of it buried and other parts laying around the church and realizing what it was, had it restored over a twenty year period despite the fact the order of its destruction hadn't been rescinded. It can be seen at the Ruthwell Church. The inscriptions on it are from a devotional poem "The Dream of the Rood", the oldest poem in English written by Northumbrian poets circa 7th century.

In 1843 feeling the government was sticking there noses in Church business, he helped start the free church in the period known as The Disruption. This meant leaving Ruthwell which was in the established kirk. He built a new free Church at Mount Kedar. He later moved to Edinburgh for a time to help the new kirk.

The Reverend Henry Duncan was given a honorary degree of Divinity from St. Andrews. When Rudyard Kipling gave an address at Duncan's alma mater he began by saying "At first sight, it may seem superfluous to speak of thrift and independence to men of your race and in a university that produced Duncan of Ruthwell"

In early February 1846 while giving a sermon he collapsed from a stroke. He died on February 1th2 1846.

I must say that the photograph of Henry Duncan must be one of the earliest born men to be the subject of a photograph, taken by the pioneering duo David Octavius Hill and Robert Adamson it probably dates from around 1843 as both men were also part of The Disruption.

#scotland #scottish #history #Church minister #Banker #Archeologist

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lescuriositesdelafoire · 4 years ago

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David Octavius Hill, Robert Adamson

Prof. Alex. Campbell Fraser, Rev. James Walker, Rev. Robert Taylor, Rev. John Murray, Dr. William Welsh and Rev. John Nelson, Edinburgh

1843, printed circa 1890

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dendre · 7 years ago

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Pitchfork 1998

Hét éve nyomjuk az éves visszatekintő listákat a Recnél, néha valamelyik magazin csinál random egy ilyent, most a fork találta fel.

https://pitchfork.com/news/announcing-pitchforks-50-best-albums-of-1998/?mbid=homepage-more-latest-and-video

Úgyhogy, nem jöhet más, mint megtippelni a kiszámítható magazin, kiszámítható top 10-ét, cél a 8/10 (továbbra is szokásosan nem helyezést, hanem top10-ben szereplést szeretnék eltalálni).

1. Neutral Milk 2. Outkast 3. Boards Of Canada 4. Massive Attack 5. Air 6. Beta Band 7. Mercury Rev 8. Silver Jews 9. Tortoise 10. Boredoms (és persze a Godspeed is, ha azt 98-asnak veszik, nem 97-esnek)

Itt meg az én listám (igen, minden évről van ilyen, tudom, tudom...). Alkalomadtán felül is vizsgálom ezeket, ez ennél majd nyilván valamikor ősszel lesz, amikor szoktuk csinálni a recorderes összeállítást, de az elejét nagyjából most is így szeretem (hülyén töri a szöveget, de mindegy).

1998

Mercury Rev: Deserter’s Songs

R.E.M.: Up

OutKast: Aquemini

Manu Chao: Clandestino

Beastie Boys: Hello Nasty

Pulp: This Is Hardcore

Tortoise: TNT

Byron Stingily: The Purist

Mark Hollis: Mark Hollis

Lauryn Hill: The Miseducation Of Lauryn Hill

Alain Bashung: Fantasie Militarie

Sunhouse: Crazy On The Weekend

UNKLE: Psyence Fiction

Lo-Fidelity Allstars: How To Operate With A Blown Mind

Hole: Celebrity Skin

The Boo Radleys: Kingsize

4Hero: Two Pages

Mansun: Six

PJ Harvey: Is This Desire?

Black Box Recorder: England Made Me

Underground Resistance: Interstellar Fugitives

The Beta Band: The Three EPs

Herbert: Around The House

Eels: Electro-Shock Blues

Beck: Mutations

Air: Moon Safari

Silver Jews: American Water

The Afghan Whigs: 1965

Boredoms: Super Ae

Turbonegro: Apocalypse Dudes

The Coup: Steal This Album

Black Star: Mos Def & Talib Queli Are The Black Star

Placebo: Without You I’m Nothing

Sparklehorse: Good Morning Spider

Elliott Smith: XO

Arab Strap: Philophobia

E-Dancer: Heavenly

Jurrasic 5: LP

Billy Brag & Wilco: Mermaid Avenue

Boards Of Canada: Music Has Right To The

Neutral Milk Hotel: In The Aeroplane Over The Sea

Belle And Sebastian: The Boy With The Arab Strap

Cat Power: Moon Pix

Unbelievable Truth: Almost Here

Sonic Youth: A Thousand Leaves

Moodymann: Mahogany Brown

Guy Chadwick: Lazy, Soft & Slow

Roddy Frame: The North Star

Tom Zé: Fabrication Defect

Leila: Like Weather

Plastikman: Consumed

Gas: Zauberberg

Dalek: Negro Necro Nekros

Garbage: Version 2.0

Massive Attack: Mezzanine

Death Cab For Cutie: Something About Airplanes

Asian Dub Foundation: RAFI’s Revenge

Terry Callier: Timepeace

The Divine Comedy: Fin de Siécle

Babybird: There’s Something Going On

Hefner: Breaking God’s Heart

Delakota: One Love

Gorky’s Zygotic Mynci: Gorky 5

Julie Ruin: Julie Ruin

Stina Nordenstam: People Are Strange

Björn Torske: Nedi Myra

Global Communication: Pentamerous

Squarepusher: Music Is Rotted

Third Eye Foundation: You Guys Kill Me

Maxwell: Embrya

Add N to (X): On The Wires Of Our Nerves

Muslimgauze: Mullah Said

Pole: cd1

Jon Spencer Blues Explosion: ACME

Fugazi: End Hits

Gang Starr: Moment Of Truth

Big Pun: Capital Punishment

Autechre: LP5

Refused: A Shape Of Punk To Come

At The Drive-In: In/Casino/Out

Six By Seven: The Things We Make

Quickspace: Precious Falling

Motorpsycho: Trust Us

Midnight Choir: Amsterdam Stranded

Pascal Comelade: L’argot du bruit

Nits: Alankomaat

Hood: Rustic Houses

Gastr del Sol: Camoufleur

Mouse On Mars: Glam

Tricky: Angels With Dirty Faces

Destroyer: City Of Daughters

Quasi: Featuring Birds

Royal Trux: Accelerator

Aloof: Seeking Pleasure

Esthero: Breath From Another

Soulvax: Much Against Everyone Advice

MDK: Open Transport

Barry Adamson: As Above, So Below

Queens Of The Stone Age: st

Sleep: Jerusalem

Marion: The Program

Embrace: The Good Will Out

John Martyn: Church With One Bell

Goldie: Saturnz Return

Ed Rush & Optical: Wormhole

Ash: Nu-Clear Sounds

Jeff Buckley: Sketches

Rufus Wainwright: st

Manic Street Preachers: This Is My Truth Tell Me Yours

Madonna: Ray Of Light

Rachid Taha: Diwan

Dirty Three: Ocean Songs

Pram: North Pole Radio Station

Gomez: Bring It On

Saint Etienne: Good Humor

High Llamas: Cold And Bouncy

Idlewild: Hope Is Important

Lampchop: What Another Man Spills

Calexico: The Black Light

Spoon: A Series Of Snakes

Sophia: The Infinite Circle

Bright Eyes: Letting Off The Happiness

Tripping Daisy: Jesus Hits Like An Atom Bomb

Notwist: Shrink

Tarwater: Silur

Talvin Singh: Ok

Fatboy Slim: You’ve Come A Long Way Baby

Freestylers: We Rock

Cardigans: Grand Turismo

Grant Lee Buffalo: Jubilee

Lucinda Williams: Car Wheels On Fire

Ian Brown: Unfinished Monkey Business

Puressence: Only Forever

Delgados: Peloton

Aluminium Group: Plano

Jack: The Jazz Age

Amon Tobin: Permutation

Wagon Christ: Tally Ho!

Morcheeba: Big Calm

David Gray: White Ladder

Pearl Jam: Yield

System Of A Down: st

Cowboy Junkies

Propellerheads

Hooverphonic

New Radicals

Earl Brutus

Rocket From The Crypt

Fun Lovin’ Criminals

Cake

Catatonia

Faithless

Therapy?

Marilyn Manson

Smashing Pumpkins

++++

Spiritualized: RAH live

Portishead: Roseland NYC Live

Swans: Swans Are Dead live

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notinnewhall · 4 years ago

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Dr John Kirk (1832-1922) was the son of Rev. John Kirk (1795-1858), a minister of Arbirlot Church in Angus who participated in the foundation of the Free Church of Scotland in 1843. Taking his medical degree in 1854, he volunteered for medical service in the Crimean War. He probably took up photography during his student days, for while in the Crimea Kirk took calotype negatives of a hospital ward at Renkioi and the various amenities of camp life. Returning to Scotland in 1858 he was offered the position of medical officer and botanist for Dr. David Livingston’s second expedition to Zambezi. He made numerous waxed-paper negatives during the expedition, including the first significant views of the interior of Africa and studies of unusual botanical specimens. He remained loyal to waxed paper as late as 1862, finding it more forgiving in hot climates than wet collodion. Dr. Kirk moved to Zanzibar in 1866, serving there as a medical officer for two decades. .

#historyofphotography #photographyhistory #notinnewhall #19thcenturyphotography #calotype #scotland #saltedpaperprint #drjohnkirk6m

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nofomoartworld · 7 years ago

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Hyperallergic: The Creative Chemistry of a Photography Duo from the 1840s

David Octavius Hill and Robert Adamson, “David Octavius Hill and Professor James Miller. Known as ‘The Morning After “He greatly daring dined”‘” (1845), calotype print (courtesy Scottish National Portrait Gallery)

In 1843, the painter David Octavius Hill was confronted with a seemingly impossible challenge: how to capture the faces of over 400 ministers who had dramatically walked out of the Church of Scotland’s annual General Assembly in Edinburgh, thus forming the Free Church of Scotland. Although he was an established artist, Hill could only sketch so much in the brief time the men were all available. As luck would have it, the Scottish city had a newly arrived photographer — Robert Adamson — who was experimenting with the calotype process, introduced to the world by William Henry Fox Talbot four years prior. Hill and Adamson would not just complete the portraits for Hill’s painting, they would spend the next four years creating thousands of calotypes. Together, they helped establish photography as an artistic medium, until one of them met an untimely death.

“Hill and Adamson were among the earliest photographic partnerships in photography, not just Scottish photography,” Anne Lyden, international photography curator at the National Galleries of Scotland, told Hyperallergic. Lyden curated A Perfect Chemistry: Photographs by Hill and Adamson now at the Scottish National Portrait Gallery. “They were working at a time when there was no history of photography, the art form was very new, and its full potential was yet to be realized. However, they were able to demonstrate the artistic capabilities of the medium, producing beautiful and inspiring images during the 1840s that continue to resonate today.”

David Octavius Hill and Robert Adamson, “Edinburgh Ale: James Ballantine, Dr George Bell and David Octavius Hill” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

Although Hill was two decades older than Adamson, and Adamson came from an engineering background, having taken up photography as a less strenuous career due to his ongoing ill-health, their different backgrounds and personalities made for an unlikely, but flourishing, partnership. Soon Hill and his daughter Charlotte moved into Adamson’s Rock House home at the foot of Edinburgh’s Calton Hill. Adamson mastered the technical side; Hill composed their prints with an artistic perspective, and put subjects at ease with his gregarious nature. He was even something of a clown in front of the camera, dressing up for recreations of scenes from Sir Walter Scott’s novels, and playfully posing with friends. One image called “Edinburgh Ale” shows Hill with two grinning men enjoying glasses of beer, while a following photograph titled “The Morning After” has Hill with his clothes in disarray, the glasses empty, and a friend jokingly checking his pulse.

“The title of the exhibition — A Perfect Chemistry — alludes to the alchemy involved in making early photographs, but also to that special connection they shared as photographic partners,” Lyden explained. The exhibition features over 100 of their original paper negatives and salted paper prints, organized from the National Galleries of Scotland, which has the world’s most comprehensive collection of the duo’s work.

David Octavius Hill and Robert Adamson, “The Sir Walter Scott Monument under Construction” (1843), calotype print (courtesy Scottish National Portrait Gallery)

The photographs include portraits of local figures, like anatomist Robert Knox (now infamous for his involvement with the bodysnatchers Burke and Hare), James Young Simpson who invented chloroform, writer and influential art critic Elizabeth Eastlake, and Isabella Burns Begg, the sister of poet Robert Burns, who stares out from one of their images with piercing eyes. There are shots of the changing urban landscape of 19th-century Edinburgh, such as the construction of the monument to Sir Walter Scott and the demolition of buildings to make way for a railway station. “They were using photography — a new invention — to record other inventions, such as the introduction of the railway, while many of their portraits featured scientists, inventors, and politicians, who were all seeking to make change at a time when the world seemed to be rapidly evolving,” Lyden said.

The furniture and props in the duo’s portraits suggest an indoor setting, but all of these had to be photographed outside, often in Rock House’s garden, to get the strong sunlight necessary for the calotype process. The use of these props, like books and guitars, kept sitters’ hands occupied while wordlessly communicating something about the person. Talbot’s calotype debuted around the same time as Louis Daguerre’s daguerreotype, and Hill would state that he preferred the more spontaneous and tactile qualities of the calotype. “The rough and unequal texture throughout the paper is the main cause of the calotype failing in details before the Daguerreotype … and this is the very life of it,” he asserted. “They look like the imperfect work of man … and not the much diminished perfect work of God.”

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The calotype, a process that uses paper coated with silver iodide, lent itself to the candid style of Hill and Adamson. The photographs can resemble casual snapshots, such as a group of people lounging on the tombs in Greyfriar’s Churchyard, yet each required careful planning, composition, lugging of delicate and heavy equipment, and the patient stillness of the sitters. Their best known images, thanks in part to subsequent publication in Alfred Stieglitz’s Camera Work, are of the Newhaven fishing community on the edge of Edinburgh. Men lean against beached boats, women gather around ministers and caught fish, portraying both the industry and spirituality of the people. Lyden pointed out that these photographs “are among the earliest examples of social documentary photography.” Many of the 1840s images also anticipate the immediacy we now associate with photography, whether catching the blurred motion of a horse-drawn cart on Edinburgh streets, or freezing a glimpse of a woman’s lace shawl as she turns away.

Ultimately, the partnership would end before Hill painted the 400 ministers. Adamson died at the age of 26 on January 14, 1848, four and a half years into their collaboration, the culmination of his long illness. Hill’s “The First General Assembly of the Free Church of Scotland; signing the Act of Separation and Deed of Demission — 23rd May 1843” was finally completed in 1866. It was, appropriately, photographed by Thomas Annan (currently the subject of an exhibition at the Getty Center in Los Angeles), the negatives disseminating the pivotal scene of Scottish religious freedom. If you look closely at the ministers, each representing in detail an individual who was there, you can spot a small anachronism: an artist with a sketch pad and a man holding a camera, Hill’s immortalizing tribute to his late friend and great collaborator.

David Octavius Hill and Robert Adamson, “Lady Mary Hamilton (Campbell) Ruthven, 1789–1885. Wife of James, Lord Ruthven” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “Newhaven boy (‘King Fisher’ or ‘His Faither’s Breeks’)” (1843-–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “Greyfriar’s Churchyard, a group of monuments including the Paton and Chalmers monuments, with Heriot’s Hospital in the background and David Octavius Hill seated on the monument” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “Greyfriars’ Churchyard, a group of monuments including the Chalmers and Jackson Monuments” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “David Octavius Hill, 1802–1870. Artist and pioneer photographer” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “The Pends, with a man and horse-drawn cart (St Andrews)” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “Dr George Bell: Nude Study” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “Sandy (or James) Linton, his boat and bairns” (June 1845), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “Dumbarton Presbytery. Rev. William Alexander, McMillan of Cardross, Rev. James Smith (or Goodsir) and Rev. John Pollock” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

John Adamson, “Robert Adamson, 1821–1848. Calotypist” (1843), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “Jeanie Wilson and Annie Linton (Newhaven)” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “The Orphan Hospital during demolition, on the site of Waverley Station” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “The High Street with John Knox’s House” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “The General Assembly Hall of the Free Church during building with the Castle and the Church of Tolbooth St John in the background (Edinburgh)” (September 9, 1844), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “St Andrews Harbour” (1843–47), calotype print (courtesy Scottish National Portrait Gallery)

David Octavius Hill and Robert Adamson, “South Street, St Andrews” (1842–43), calotype print (courtesy Scottish National Portrait Gallery)

A Perfect Chemistry: Photographs by Hill and Adamson continues through October 1 at the Scottish National Portrait Gallery (73 Belford Road, Edinburgh).

The post The Creative Chemistry of a Photography Duo from the 1840s appeared first on Hyperallergic.

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scotianostra · 11 months ago

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February 12th 1846 saw the death of Rev Henry Duncan, founder of the world-wide savings bank movement.

In early February 1846 while giving a sermon he collapsed from a stroke. He died on February 1th2 1846.

I must say that the photograph of Henry Duncan must be one of the earliest born men to be the subject of a photograph, taken the pioneering duo David Octavius Hill and Robert Adamson it probably dates from around 1843 as both men were also part of The Disruption.

#scotland #scottish #history #church minister #historian

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scotianostra · 3 years ago

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On October 8th 1774 the Rev. Henry Duncan, founder of the first ever savings bank, was born at the Duncan Manse in Lochrutton, near Dumfries.

In early February 1846 while giving a sermon he collapsed from a stroke. He died on February 1th2 1846.

#Scotland #scottish #banking pioneer #religious man #history

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