Tartan as we know it today is a modern and still evolving fabric whose birth can be found in the successful rehabilitation of disaffected Highlanders following the crushing of the last Jacobite rebellion. Jacobitism and the Clan system received their death-blows on the battlefield of Culloden in 1746, following which wearing highland dress and carrying arms, a requirement of Highland dress, were outlawed in 1747 by the Act of Proscription until 1782 when the Act was repealed. One ironic consequence of the Act was that in defining what it was that identified Scots as the enemies of the English served as a starting point for the establishment of Scottish national identity through their costume, culminating in 1822 when George IV, to demonstrate he was not only King of England but Scotland as well, paraded himself in Edinburgh attired in what he mistook for a chieftain's dress. So when Naomi Tarrant declares: “There is no tradition of folk dress in Scotland similar to that found in most of the rest of Europe where clothing was deliberately developed as an expression of national culture. In Scotland the development of Highland dress cannot be compared to folk dress, although it is seen in a similar light by some commentators” [Lynch 2001] that was precisely the sartorial outcome of the King's Jaunt; where not just tartan but Highland dress with all its accoutrements, or accessories as they would doubtless be called today, were “deliberately developed as an expression of national culture.”
Before the Act of Proscription was repealed, the culmination of James Macpherson's literary efforts appeared in 1765 entitled ‘The Works of Ossian’. Translated into every European language and acclaimed enthusiastically across the English speaking world, Macpherson's impostures, for such they proved to be, paved the way for the apotheosis of Scottish romanticism in the hands of its ultimate champion, Sir Walter Scott, who was to become the guiding spirit behind the King's Jaunt. Previously inaccessible, not to say inhospitable, parts of Scotland were ‘opened up’ and Scotland emerged from its chrysalis of savagery to astonish the world with the imago of Scotia resplendens, Enlightenment thinkers, and the apotheosis of vernacular writers, Robert Burns, painters of the callibre of Ramsay and Raeburn, all contributing to Edinburgh's well-deserved sobriquet ‘the Athens of the North’. Jacobitism, from having been treasonable became fashionable, even respecatble, as evidenced for example by the publication of James Hogg's ‘Jacobite Relics of Scotland’ in 1819, dedicated to the “most noble and honourable president and members of the Highland Society of London” in which Hogg conferred upon the king the ultimate compliment of being - a Jacobite! And then there was Scott.Keen to steer King George IV, and especially his latest mistress the Marchioness Conyngham, well away from the forthcoming Congress of Vienna, the Earl of Liverpool, abetted by Lord Melville and subsequently Robert Peel devised a state visit to Scotland as a suitable diversion. Sir Walter Scott was appointed ringmeister. It was Sir Wattie who was responsible for the ultimate absurdity of a German prince parading himself in public, in Scotland, in 1822, wearing Highland garb that would have seen any other man doing the same thing imprisoned and possibly executed not many years earlier. The tout ensemble cost the royal exchequer £1,354 18/- This absurd charade and display of sycophantic, tratan-draped hypocrisy was performed before a backdrop of wholesale highland clearances of the very people required as adoring extras. Others of George IV's less compliant Scottish subjects had been executed two years previously for ‘Radicalism’, more evocatively described by Scott as “democratical scoundrels.” Those who avoided hanging were transported. Thousands emigrated, and continued to do so until afforded some protection towards the end of the century by the Crofters Act 1886. The Radicals had plenty of grounds for complaint; e.g. in Orkney, out of a population of about 23,000, only 7 people were entitled to vote in the election in 1758. At the forefront of the Scottish Insurrection were the weavers whose earnings had halved between 1800 and 1808 and were the very people who might ultimately have gained the most following the tartan renaissance had their situation not been caught between the Scylla of the Industrial Revolution and mechanised weaving and the Charybdis of artificially high prices as a direct consequence of the Corn Laws. By 1820, in the wake of the slump in trade following the Napoleonic Wars there was widespread poverty and unemployment among all the artisan classes - shoemakers, smiths, and wrights as well as weavers. ‘Radicalism’ supplanted Jacobitism as the rallying point for the discontented and came to a head in 1820 with the Radical War, or Scottish Insurrection as it is sometimes called, and, heralded the year before by its English counterpart, the Peterloo Massacre, culminated in the Battle of Bonnymuir.
While the sassenachs were draping themselves in Tartan, eminent Scots such as James Boswell went back to school to learn how to talk English proper, and to eschew that most egregious of clangers, Scotticism whose inadvertent use were a frequent source of embarrassment to Boswell and an occasion for gleeful mockery by Dr Johnson. In spite of the inauspicious royal launch, once George IV had blazed a trail in his tartan mini-skirt and pink tights, Tartan became unstoppable. Scottish weavers proved themselves capable of producing whatever tartan challenge was thrown their way, and one such challenge was to produce tartan that complied with the strictures of Brothers Bogus or, as they styled themselves, the Sobieski Stuarts who were in reality born John Hay Allen and Charles Stuart Hay Allen. In 1842 they published Vestiarium Scoticum a lavishly illustrated bible of all things tartan compiled, it was claimed by the brothers, from ancient manuscripts in their possession detailing the origins and pedigrees of clan tartans - claims which were as well-founded as Macpherson's claims for The Poems of Ossian, the ancient manuscripts proving in both instances equally illusory. The Vestiarium was seized upon by Clan Chiefs and the weaving industry with equal fervour. Very few thought seriously to question the claims and it wasn't until almost 140 years later that an analytical study of the book was undertaken. The conclusion was that talented and ingenious though they were, the Sobieskis had perpetrated a fascinating and monumental hoax upon a gullible society and the vast majority of ‘old’ clan tartans came only from the fertile imagination of Charles the illustrator. The book jacket for that analytical study by D C Stewart and J C Thompson entitled Scotland's Forged Tartans says: “Despite the misgivings of a few, but potent, authorities, these tartans were eagerly accepted by a public desperate to wear its ‘authentic’ clan tartans and a trade equally desperate to sell them and they have remained with us, highly respected and totally unauthenticated. . . . beyond all doubt, the Vestiarium and its background material are complete forgeries.” [Scottish Tartans Authority website]
None of which matters one jot; as so often, the public were and remain more than willing to swallow hook, line and sinker the Sobieski Stuart tartan mythology. Further encouraged by the likes of The Highland Societies of Edinburgh, Aberdeen, Inverness, London and elsewhere, everyone wanted to dress up and Scottish weavers such as Wilsons Bros. of Bannockburn or John Callander & Coy. of Stirling, who wove the King's tartan, were not slow to pander to the insatiable demand. Tartan had of course been produced long before the Sobieski Stuart brothers reinvented it, but the book acted as a spur in the flanks of producers and consumers alike. Freed from the limitations of small local weavers whose products were constrained by the availability of whatever dyes were obtainable locally, Scottish weaving on an industrial scale proved equal to the task of satisfying not only the Scots and English, but the whole British Empire and much of planet earth, especially those parts whose cartography matched the colour of the King's tights. Not only the royals were gripped by tartan fever; the nouveau riche and middle classes willingly entered the tartan fray; keeping up with the Joneses no longer cut the mustard; they must be outshone. New and exciting patterns or setts were produced using colours many of which were as ostentatious and extravagant as the use of costly pigments such as ultramarine. “Madder from Rotterdam and Hamburg and later cochineal from Central America gave expensive but exciting and colourfast shades of red...” [Lynch, 2001] It was not simply a matter of pattern, but like the ragas of Indian classical music, the occasion and purpose of the apparel was taken into account. Thus there are ‘ancient’ and ‘modern’ variations, and ‘dress’ and ‘hunting’ versions, a plethora of choices guaranteed to keep the mills at work. All the tartan squares shown on these pages, for example, are variations of the Sinclair tartan.
In spite of visiting both Shetland and Orkney in 1839, well after the onset of tartanmania, it was not until Christian Ployen, a Faroese, reached Scotland that he was startled “to behold a man going about quite unconcernedly with a short petticoat and bare legs.” Being of a broad mind he was happy to concede that “nevertheless the Highland costume is very handsome, and becomes a well formed man remarkably well.” [Ployen, 1894] And so say all of us! but he was not startled by anyone “in short petticoat and bare legs” in Shetland or Orkney.
* Thomson wrote two separate histories of Orkney published some fifteen years apart.
© 2018 Duncan Linklater Sennachie.