There are times when having read some consider wise word
from the past that they strike home and clarify my own present day visions. Such
was the case when Simon handed me the short volume “Living Traditions of
Scotland” by his father George Scott-Moncrieff a slim booklet published by His
Majesty’s stationary office in 1951.
The booklet encompasses all
Scottish traditional crafts throughout the ages from the perspective of
architecture which was George’s life-long preoccupation. When considering
ornamentation he states that simple “functional” objects can be more pleasing
for their line and shape than the over ornate. I was reminded of some equally
wise words of advice having planted a rambling rose on the front of my studio
here in Brittany: A good architectural façade requires no embellishment, use
the climber to hide the hideous. George goes on to state that due value is
given to an object through the proper use of material and their associated
qualities, be it stone or wood or metal, wool or straw or linen. Concerning the
traditional Highland “black house” while acknowledging that modern improvements
are possible, it is always foolish to assume that any old tradition was pursued
merely because our forefathers did not know any better. The ruined remnants of
such houses will still be standing long after today’s kit home constructions
have blown from their concrete foundation slab.
“In Scotland, as elsewhere, what
is remarkable is the quality of design and workmanship shown in very early times,
as through man’s innate sense of, and desire for, beauty could inspire him to
remarkable heights even against a comparatively slight background from which to
draw; a tradition established, maintained, and developed right up to the
limitations of its materials and techniques.” We would do well to reflect on
that the next time our gaze falls on a selection on key rings or fridge magnets
in the local tourist shop. “It is difficult fully to account for the general
deterioration of design during the nineteenth century. Certainly much of the
blame must lie with the development of the machine, with its divorce between
the designer and his materials, and its too great emphasis upon facility of
production and cheapness of cost”. He emphasises that machine goods need not be
ugly but warns against the tendency to be over-concerned with production and
profit to the detriment of design and functional beauty. In looking at the fine
things that men and women have made and that they still strive to make we may
feel that they stand for the control of mind and hand, for a generosity of
labour, for a search for perfection within the bounds imposed by the immediate
object. When the work is done with intimate care then the craftsperson
impresses their own spirit upon it. “By sympathetic use of the tools in their
hands they can interpret their life and build and maintain their tradition”. So
the computer generated image stitched onto tweed by an installed program has no
soul and without that important human element also has no intrinsic value. Our
highly skilled crafts people are being asked to debase their ability in order
to produce work that is cheap enough to market for the masses, which in turn
only increases the amount of produce that ends up in the rubbish bin. It is bad
enough sitting through a slideshow of friends latest holiday without having to
say thank you for some ghastly bauble from the Bahamas. I gave up buying gifts
many years ago and instead treat myself to something special approximately
every five years and this will have absolutely nothing to do with key rings of
fridge magnets.
The second half of this 1951 booklet is concerned with advertising where
Reid and Taylor Ltd of Langholm Dumfriesshire boast of being makers of the
world’s most expensive Twist Cheviot Cloths suitable for town and country. Nicoll
Brothers of Bankfoot, Perth makers of sporrans since 1834 emphasise wholesale
enquiries only, while Bailey’s Edinburgh branch offer Chateau Moulion Rose
Medoc at 8/6 per bottle or a Chateau Mouton-Rothschild at 10/6.
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