Today we are publishing an article by Ash Mowat, a volunteer in the Civic Engagement team, on the Symbolae Scoticae: a set of eight purpose-bound scrapbooks containing more than 2000 items relating to Scottish history, geography and culture.

In this blog I will explore the Symbolae Scoticae[1] (Scottish Contributions) volumes of scrapbooks containing images of Scotland as compiled by the 19^th century Scottish naturalist Adam White, held at the University of Edinburgh’s Centre for Research Collections.

Adam White (1817 to 1878) was born in Edinburgh and developed a specialism in insects and crustaceans, practising as a zoological assistant at the British Museum in London.[2]

He was aged just 18 when he started this work having only been educated up to high school level, and developed expertise in the identification, naming and cataloguing of a wide variety of species of insects and crustaceans. He published many papers and reports of his findings and was very well regarded, having been praised by and commissioned work by Charles Darwin, amongst other esteemed colleagues. Despite his achievements and regard, he did not rise above the level of zoological assistant, potentially due to striven relationships with his supervisor. He further contributed by campaigning and petitioning for the creation of the National Museum of Scotland in his birthplace of Edinburgh.[3]

The Symbolae Scoticae collection consists of 8 large scrapbooks approximately 17×14 inches. I focused my inspection on the first two volumes which were dedicated to the Edinburgh and Lothians regions of Scotland. The books contain artworks in a variety of media dating from the 18^th and early 19^th century.

The image of 1838, an etching and engraving, shows a relatively unchanged view down from Edinburgh’s Hanover Street facing onto the building that is now the gallery and home of the Royal Society of Artists.

The above image from 1814 shows a dramatically different view from Edinburgh’s Princes Street, facing onto the towards the Old Town, attributed to the artist Dan Mcintosh. It depicts a very selective view of the times with the finery and wealth of the privileged classes on display, with the grime and sometimes squalid conditions of the Old Town in the background not featured.

In the etching and engraving above, the view is taken from the Greyfriars’s cemetery in Edinburgh, facing onto what was the Heriot’s Hospital but currently George Herriot’s School, with the dramatic backdrop of Edinburgh Castle. The rendering of details and capturing of varying lights, tones and textures are exquisitely crafted, more so than would be conveyed in the later development of photography.

The above image, selling fish, is by the renowned Scottish artist Walter Geikie (1795 to 1837) and dated to around 1830.[4] Born in Edinburgh, he overcame a disability that had left him deaf, learning how to speak and developing his natural talents as an artist to study and practice as a celebrated illustrator of the ordinary citizens of Edinburgh going about their wares, often featuring the Old Town of Edinburgh as their location. There is always much humanity, humour and affection in his works for his working-class subjects, at a time when many other artists would focus on creating images of the wealthy and powerful.

An illustration of Edinburgh’s South Bridge above left from the 19^th century, alongside contrasting photograph of the location today.

Dated to 1832 by the artist G Barret and engraver E Finden, this spectacular composition shows a sunset over the ruins of St Anthony’s Chapel situated upon Holyrood Park in Edinburgh. The chiaroscuro lighting effects give the image a haunting quality.

Above left is an aquatint of the runs of Dunbar Castle in East Lothian outside Edinburgh, alongside a photograph of the location today.

The quality and diversity of the images held in this collection are incredible, I was only able to explore two of the 8 volumes held. I would urge anyone with their interest spiked to consider exploring these further, and staff have helpfully created a useful map to outline the locations and content covered.[5]

I should like to thank mu supervisor Laura Beattie (Community Engagement Officer) for support, and to the helpful staff at the centre for research Heritage Collections in enabling access to these materials.

[1] Collection: Symbolae Scoticae | University of Edinburgh Archive and Manuscript Collections

[2] Adam White (zoologist) – Wikipedia

[3] Adam white Archives – Innerpeffray Library

[4] Walter Geikie | National Galleries of Scotland

[5] https://symbolae.neocities.org/

Today we are publishing an article by Ash Mowat, a volunteer in the Civic Engagement team, on the astronomical observation of the planet Venus from Persia, 150 years ago.

In this blog we shall explore a collection of photographs recording an astronomical observation of the passage of the planet Venus as viewed from Persia (now modern- day Iran) in 1874, held in the University of Edinburgh’s Heritage Collections department.[1]

The location of the events was in the city of Isfahan, currently the third most populated city in Iran and one that retains much of its celebrated historical architecture and art.

The photographs were to record the transit of the planet Venus in December 1874, a rare event offering enhanced opportunities to observe the planet in closer detail.[2]

(The image above shows the detail captured of the planet which is remarkable given the relatively primitive telescopes that were utilised).

(In the image above, we can see set up of the larger format telescope that would have been used for the observations and photography of the passage of Venus. I like how it captures both the scientific equipment and the individuals engaged in their work, and not just a static pose before the camera).

(In the above two images we can see a set-up of one observation area at Baugh-i-Zerecht bridge at Sende-Roud, a city gate and location of the Shah Mosque which was completed in 1629 and is now a UNESCO world heritage site)

It is interesting to observe the variation between the two group photographs above, which were not positioned side by side in the folio, but that I have chosen to juxtaposite for the purposes of contrast. On the left the subjects depicted are the esteemed and privileged persons invited within the astronomical station, whilst the image on the right features a group of observers peering through the barrier of the perimeter gates.

The image on the left is more contrived, but perhaps purposely so to be a more official record, with the group members fixed rigidly for and staring towards the photographer. Many in the group are dressed in smart coats and top hats which add to the formality and might seem incongruous for the location.

I prefer the photograph on the right as here the subjects are much more natural, relaxed, and are not posing for or deferring to the photographer. The narrow depth of field utilised in the image nicely keeps its focus sharp solely on the central figures and blurs out the fore and background. Rather, their facial expressions and positions portray the connection and warmth between the group members, who might equally either be curious or indifferent to the events taking place within the gates.

(In the dramatic landscape image above, we have a brilliantly lit view of the Fatima Masumeh Shrine in the city of Qom. [3])

(I like this photograph for choosing to include the ordinary citizens homes of the period, perilously perched within the imposing mountains).

In conclusion, it was a privilege to view this stunning collection of photographs, clearly taken by a professional as the image quality, lighting and composition are of a great quality for the standards and capabilities of photography of this era. These images capture and preserve the dramatic landscapes of what was then Persia, and the people involved in the recording of this rare astronomical event.

I should like to thank my supervisor Laura Beattie (University of Edinburgh Community Engagement Officer) for support and guidance, and to all staff at the University of Edinburgh Centre for Research Heritage Collections for enabling access to view.

[1] https://archives.collections.ed.ac.uk/repositories/2/resources/340

[2] https://en.wikipedia.org/wiki/Passage_de_V%C3%A9nus

[3] https://en.wikipedia.org/wiki/Qom