Today's #AuctionHouseArtefact is this Leith beggars badge or token. It is inscribed on the front with the earlier version of the burgh crest and motto of Leith (Persevere), and on the back with Leith Poor No. 10
"The growth of a large class of beggars in medieval times led to the necessity for limiting the numbers of those
officially entitled to beg". This was put into Scottish law as early as 1424. Only those with a badge were allowed to beg, and it had to be worn on outer clothing
Parishes and burghs all over Scotland issued these badges. They had a serial number (No. 10 in this case). Begging was thus made official and strictly controlled. They were generally lead or some other easily cast, cheap metal.
Here are further Leith badges, serialled No. 5 and No. 7. Although I'd wager that on the left is a newer design than on the right.
And here are other designs from across Scotland
Interestingly, as far as I'm aware no tokens from the 2 largest burghs (Edinburgh and Glasgow) are known to survive.
Back to our Leith token. It's quite rare too. At least 3 other Leith tokens survive. It's not date stamped, but I would wager this is from the last quarter of the 19th c. given the style of the crest and the fact the Persevere motto did not seem to be used until then.
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Our story begins with Patrick Miller of Dalswinton. He was born in Glasgow, the third son of minor gentry; William Miller of Glenlee (not Sir William, baronet), a Writer to the Signet, and Janet Hamilton (pic National Galleries of Scotland)
Patrick attended the University of Glasgow, where he decided (or it was decided for him) to take up banking as a profession. By the age of 29 he was a partner in the firm of William Ramsay of Barnton (independently wealthy from money his father made in the Canongate inns trade)
Ramsay was also a merchant, and Patrick spent much time looking after the shipping business of the firm. He is said to have learned first hand the perils of the sea, sparking an insatiable interest in naval architecture.
This is the only photo I have yet found of the Meadowbank "hutments". These were ex-WW1 army issue wooden barracks huts that had been converted into housing, 2 houses per hut. They were each given a plot of allotment land, hence the name. 1932 PO map shows the location.
There are some maps here showing the site layouts at Iona Street (the names Albert, Dickson and Iona Cottages reflects the street names) edinphoto.org.uk/0_MAPS/0_map_e… and London Road / Meadowbank as "St. Margaret's Cottages", after the nearby well edinphoto.org.uk/0_MAPS/0_map_e…
And the drainage map here gives a better idea of the site layout and records the dates when they were being erected and demolished. Area was prone to subsidence and drainage as it's on site of an old system of settling ponds for the city's "night soil" edinphoto.org.uk/0_MAPS/0_map_e…
I'm pleased to bring you a few more suggestions as to how you can really up your #greyplague game. First of all, try an all grey and white exterior and hard landscaping. Make sure any grass is actually astroturf, and consider painting your shed grey and white too.
Limit any colour in your grey and white living room to a plastic christmas tree.
Make sure the big light in your kitchen is so powerful that all you can see is blinding white light bouncing off of everything. Accessorise with gloss black, remember white and black = grey.
Found this absolutely brilliant early 19th c. watercolour on the National Galleries site in the course of my daily rummaging (nationalgalleries.org/art-and-artist…) of the Water of Leith at Bonnington, looking towards Edinburgh. It is by John Harden and is date April 1809.
It's not a view you can get any more because of subsequent building, but it's full of details of industrial Leith at the beginning of the 19th c. The artist is sitting where the garages on Graham Street are, looking southeast
The main feature that dominates the foreground is Haig's distillery at Bonnington. Built in 1798 as one of the new fangled grain distilleries. You can see the cowls of malt houses, the vertical still tower etc.
I'm assuming there are magazines that actually recommend painting, papering and draping everything in only grey and white.
I thought hard about whether to bother about this. But it's just incredible. That poor fruit bowl, fighting hard but thoroughly losing the battle to brighten the place up.
I think mutton has to always be top left, as it's probably the "most authentic" meat accompaniment if you think about the likely origins of the dish and what people ate. Barfit is a sound central square occupant as it's the starting point around which all other Stovies are built