A Tour Through Scotland

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A Tour Through Scotland:

A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph

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Danielle McAllister Honours Bachelors of Arts, Studio Art, University of Guelph, 2007"

A Thesis Project Presented to Ryerson University. the Art Gallery of Ontario, and the George Eastman House International Museum of Photography and Film

In partial fulfillment for the degree of Masters of Arts . In the program of . Photographic Preservation and Collections Management

Toronto, Ontario, Canada 2010

PRDPERTYOF RYERSON UNIVERSITY UBRARl ±brSS

Author's Declaration

I hereby declare that I am the sole author of this thesis. I authorize Ryerson University and George Eastman House International Museum of Photography and Film, to lend this thesis project to other institutions or individuals for the purpose of scholarly research.

,. - I --I I Danielle McAllister

, I further authorize Ryerson University and George Eastman House International Museum of Photography and Film to reproduce this thesis project by photocopying or by other means, in total or in part, at the request of other institutions or ~ individuals for the purpose of scholarly research.

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I Abstract I i Among the various collections housed in the Archival & Special Collections CASC) at the University of Guelph is a group of photographic material that exhibits the integral role photography played in Scotland's tourism industry from the I nineteenth and early twentieth centuries. Photographic publishing firms such as I G.W. Wilson & Co. and Valentine & Sons, Ltd. incorporated photography into their I , ! commercial repertoires and both helped to create and capitalize on Scotland's vibrant tourism industry during this period.

1 This thesis focuses on this specific group of material that includes four bound I tI albums, five opalines, seven travel view books, and over four hundred stereographs, and additionally looks at how institutions such as the ASC use descriptive tools like finding aids to provide access to and information about their collections. This thesis project reevaluates the structure and role of the finding aid as applied to . photographic material in archival collections. Additional components such as a biographical sketches, a glossary of photographic terms, a geographic index, and a historical overview, have been incorporated to further demonstrate how a finding aid can build a greater web of connections and narratives for such collections.

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Acknowledgements

First and foremost I would like to thank my first reader Sophie Hackett for all of her' support and guidance throughout this project and during my studies at the Art Gallery of Ontario. Also, thank you to my second reader, Vid Ingelevics, for helping fine tune the final product

I would also like to thank all those part of the Photographic Preservation and Collections Management program for allowing me to be involved in such an enriching experience and thanks to all my fellow classmates for providing such a great team to work with~

Also, I would like to thank Kathryn Harvey and all the staff from the Archives & Special Collections at the University of Guelph for being so welcoming and letting me to work so closely with their collection. I would also like to thank my family for always supporting me in whatever 1 do. And last but not least, to my husband Amit without whom I would have never embarked on this journey. Thank you for always believing in me.

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Table of Contents

1. Abstract ...... ' iii 2. Acknowledgements ...... iv 3. List of Figures ...... vi 4. Introduction ...... ;...... 1 5. Part One - Analytical Paper • Institutional History - Archival & Special Collections, University of Guelph ...... 4 • Approach & Methodology ...... , 6 • Literature Survey i. Archives & Finding Aids ...... 12 ii. Scottish Tourism & Photography...... 14 6. Part Two - Finding Aid • Table of Contents ...... 18 • Introduction ...... 19

• . Administrative History ...... ~...... 20 • Scope & Content ...... 22 • Historical Overview - The Nineteenth Century Scottish Travel View Industry ...... 23 • Content Lists ...... 28 - • Geographic Index ...... 71 • Biographical Sketches ...... 82

• Glossary of Photographic Terms ...... u ...... u ...... 84 " . . • Further Reading ...... :...... "...... "...... 85 7. Bibliography ...... 86

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List of Figures

Figure. 1 -" Screenshot of the George Washington Wilson Photographic Archive, University of Aberdeen

Figure 2 - Screenshot of J. Valentine & Co. Photographic Archive, University of St. Andrews

Figure 3 - Ellen's Isle, Loch Katrine by G.W. Wilson XS1 MSA195 Courtesy of the Scottish Collection, Archival & Special Collections, University of Guelph

Figure 4 - J. Valentine & Co. Advertisement from Black's Picturesque Tourist of Scotland (1879) DA 870 .B624 1879 Courtesy of the University of Guelph McLaughlin Library Restricted Collection

Figure 5 - Opalines produced by G.W. Wilson & Co. from the ASC Scottish ~ Collection (ca. 1880-1889) XS1 MSA146 Courtesy of the Scottish Collection, Archival & Special Collections, University of Guelph

Figure 6- Stereographic card of Dryburgh Abbey by G.W. Wilson & Co. XM3 MSA168 Courtesy of the Clarke E. Leverette Collection, Archival & Special Collections, University of Guelph

Figure 7- Balmoralfrom the River by James Valentine (ca. 1890) XS1 MSA223 Courtesy of the Scottish Collection, Archival & Special Collections, University of Guelph

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Introduction

The University of Guelph Library is home to the largest collection of Scottish related material outside of the United Kingdom. Among the thousands of rare books, manuscripts, diaries, atlflses, and letters that make up this world-renowned collection is a group of photographic material in Archival & Special Collections that exhibits the integral role photography played in Scotland's tourism industry throughout the nineteenth and early twentieth centuries. Unfortunately, this ' material has remained relatively unused by staff and external researchers, and thus became the motivation for conducting this thesis project. One of the many ways that archival institutions like the ASC provide access to and information about their collections is through descriptive tools such as finding aids. By creating a finding aid for this specific group of material, I hope to promote its overall use and also demonstrate the various connections and narratives that can be built within an archival collection. The material described by this finding aid centers on photography's place within Scotland's tourism industry in the nineteenth century. There are many factors that contributed to the increase in Scotland's tourist population during this period; however. it has been generally attributed to a combination of three factors. First are the tremendous technological advancements in rail and steamship technology produced by the Industrial Revolution, which meant more people could take the train or ferry north to Scotland. Secondly, Queen Victoria strongly admired Scotland and after numerous visits made it the location of her summer home at Balmoral Castle, which raised Scotland's popularity as a fashionable tourist destination. Lastly, popular romantic literature of the period, particularly the works of literary figures such as Sir Walter Scott, created a compelling vision of a mythic land. These factors, in conjunction with the rapid advancement of photographic technology, resulted in a surge of entrepreneurs who capitalized on the photographic medium to cater to the !ising demands of tourists who sought after visual mementoes of their travels. Two of Scotland's most significant figures of this period were James Valentine (1815-1879) of Dundee and George Washington

1 Wilson (1823-1893) of Aberdeen. This era yielded a vast amount of travel views, bound albums, travel view books, stereographic cards, and a variety of other photographic formats - many examples of which can be found within the ASC's various collections. The photographic objects described by this finding aid primarily reside in the ASC's renowned Scottish Collection. However, other photographic material relevant to this topic can also be found in the University of Guelph McLaughlin Library's Rare Book Collection, the University of Guelph McLaughlin Library's Restricted Collection, and the Clarke E. Leverette Collection of stereographic views. Since the materials are located in more than one collection and are being linked through their similarities in production and use, the traditional approach to building a finding aid does not entirely meet the needs of this material. Therefore, an investigation of what a finding aid is, what it can do, and how it can be used to describe photographic collections has led me to re-evaluate the role of the finding aid in this institution. The revised structure of the finding aid I propose is focused on identifying elements including extended historical and biographical information that are useful to researchers and which have been incorporated into the traditional finding aid format to generate a document that goes one step further in describing archival material. In total, the proposed finding aid describes approximately 850 travel views ~ i of Scotland and will be incorporated into the ASC's reference centre to provide both i ! staff and researchers with a more in depth understanding of this historically rich resource. ) I ! I t f. I l'~

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- Part 1- Analytical Paper pH SF

Institutional History

Archival & Special Collections, University of Guelph

The ASC is home to an exceedingly rich and diverse assortment of material. Established in the University of Guelph's McLaughlin Library in 1981, the ASC has become the home of thousands of rare books, manuscripts, letters, atlases, photographs, diaries, and other various forms of archival material. The items housed at the ASC address a range of topics that cater to both external researchers and a wide cross-section of the University's academic curriculum. Although it is not the official archives of the University of Guelph, the ASC plays a significant role in collecting and preserving material associated with the long and prosperous history of its founding colleges. The University of Guelph was• officially established in 1964 after the amalgamation of its three founding colleges: the Ontario Agricultural College, the Ontario Veterinary College, and the Macdonald Institute. A significant proportion of the ASC's collection is comprised of material associated with these colleges and is one ofthe institution's major collecting initiatives. The Agricultural History & Rural Heritage section of the ASC reflects the University's strong agricultural roots and contains material pertaining to the business, research and history of agriculture in Ontario. The ASC's collection also reflects the various academic disciplines of the University's curriculum, which

include Landscape Architecture, Apicultur~, and the Veterinary Sciences. Prior to the establishment of the ASC, the University's library began to accumulate a collection of unique and rare book publications. Known today as the McLaughlin Library's Rare Book Collection, this collection contains over 20,000 rare books of literary, historical, political, religious and scientific interest. Today the collection is stored alongside pther archival material in a climate controlled environment in the ASC. In addition to preserving the University's history, the ASC is also actively involved in col1ecting material related to the city of Guelph and the surrounding region's history and heritage. This part of the ASC's collection includes material

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pertaining to people, businesses, families, and community organizations significant to the history of the City of Guelph and its surrounding communities, like the personal memorabilia of legendary opera tenor Edward Johnson, as well as written and visual material associated with World War I veteran and poet John McCrea. A cornerstone in the ASC's collection is the original handwritten manuscripts, journals, scrapbooks and assortment of first editions related to the literary career of beloved Canadian author Lucy Maud Montgomery. Researchers from Japan, Australia, and Finland come to the ASC specifically to research this iconic col1ection. Another significant component of the ASC's collection is the L.W. Conolly Theatre Archives, which over the past three decades has become the largest collection of professional Canadian theatre material in the country. The ASC's Culinary ColleCtion is another actively growing col1ection that contains thousands of cookbooks ana publications related to the development of the culinary arts in Canada and around the world. Lastly, the University Library is also home to the largest collection of Scottish material outside of the United Kingdom with a significant portion of these materials residing in the ASC. Containing thousands of rare books, manuscripts, diaries, atlases, newspapers, and letters, this collection addresses an array oftopics including Scottish history, travel, economics, dan histories, geography, politics, and the Jacobite rebellions. The development of this internationally recognized collection began in 1965 and continues to grow as an extension of the University's academic curriculum in Scottish Studies.

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I I I ! !, 5 !- Approach St Methodology

, To begin building a finding aid for this grou p of photographic material, it was important to familiarize myselfwith the ASC's descriptive standards and review existing finding aids. I closely examined finding aids that specifically described photographic based collections, inc1uding the Edward Johnson Collection, the Ruben R. Sallows Collection, and the Connon Collection. Like a majority of the ASC's finding aids, these examples use a format that lists the photographs through a basic descriptive title. Although this approach has proven to be successful for both staff and patrons in providing immediate access to information about material, it does not expand beyond the most elementary descriptive level of the material. In reality producing something of greater substance would require more staff attention and time, something that every institution struggles with. Nonetheless, this listing approach does not adequately suit the needs of this photographic material because it merely inventories contents and does not address the questions of why is this material important and what story can it tell? The rules for cataloging, describing and inventorying material vary significantly both between institutions and even within the same one. The ASC does not follow one specific set of rules when generating their finding aids but has been successful in being structurally and descriptively consistent in their production. Among the ASC's staff reference material, I located a 'Guideline for the Creation of a Finding Aid' (1990), which was prepared by Janice Simpson, the former Sound and Moving Images Archivist at the Archives of Ontario. This set of guidelines was originally intended for the description of audiovisual material, but the ASC has also applied these guidelines to create finding aids for various other formats including textual, graphic, and three~dimensional material. Without more published reference material available, ) turned to finding aids from other institutions like the University of Victoria, University of Waterloo and the University of Western Ontario to gain insight into other methods of constructing finding aids. Like the ASC, these institutions limit their approach to inventorying material through lists. Lastly, I '''\

6 vi sited the online photographic archives of the George Washington Wilson

Coll ectio n at th e Uni ve rsi ty of Aberdeen (Fi gure 1) and th e James Val entine & Co . Co ll ec tion at Lh e Unive rsity of St. Andrews (Figure 2) since th eir col lections contain simi lar photographic material related in subject matter. As onlin e resources, these two websites provide an excellent visual approach to providing access to their co llectio ns , however like the other finding aids, they take a relativ ely passivf' approach to describing such vi sually and historically dynamic materi al.

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SAINT PETER'S STREET, CANTERBURY Ca tegories A-Z Index Ite1T1 N.JmbC'r; A000 1 Advanced Searc h Search Tips Browsinc Show All View Selec tions DANE JOHN. CANTERBURY Previous Searches Orderinc Prints Item NJmber: A0002 Cos ts Rep rogra phics & Co pyright Special Libraries & Archives

Photoar1phlc CHRIS T CHURCH GATE WAY, CANTERBURY Archive Home

Figure 1 - Screenshot of the George Washington Wilson PhotographiC Archive, U nivel-sity of Aberdeen

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Figure 2 - Screenshot of J. Valentine & Co. Photographic Archive, Unive.·sity of st. Andrews

From this review, I determined that there are several components and structural aspects that need to be includC'd in :my finding aid. First is the front matter that provirlcs basic information about the collection including its title, coverage dates, ;l uthor, and some form of reference number as well as an introductory ;'emdrk about the collection and its provenance, followed hy a brief administrative history, and the SCOpl' anu cuntent of the' collection The bulk of dny finding Jid, the inventory, is typically organized in a standard list format Jnd for my finning aid I continued to us e this arrangement. The organization of these content lists was derived from other finding aids at thf' ASC :lnd includes general information lik e an item's titlf', creator, and reference number. Howevrr, other elf'mf'nts such as a photograph's negative number and d stereographic card's publisher' have been included hccause of their importance to the medium and to reflect thp object's origin:ll production and use. Since this group of photographic m ~ lterial is housed in not one collection but several and is historically ri ch in content, I customizru various components of the finding did's structure, including components that provide historical, technological, and soci ~ l1 context for this specific

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group of photographic material. First, the finding aid includes biographical information of key photographers and people affiliated with this era. Second, an extended historical overview of photography's role in Scotland's tourism industry is also included in the finding aid. Lastly, informative components like a glossary of photographic terms, a geographic index of key locations, and a selection of publications for further reading are also incorporated into the finding aids structure. In a general sense, the inclusion of these extra components draw attention to the connections between these items and the stories that are generated through these linkages, as well as provide researchers with a more concrete platform to conduct their research. More specifically, these extra sections highlight this rich resource of photographic material in the ASC's collection and reveals the role photography played in Scotland's tourism industry during the nineteenth and early twentieth centuries. For many institutions, including the ASC, photographs present a challenge in terms of cataloguing, preservation, and storage. This is primarily due to the fact that photographs do not easily fit into the traditional bibliographic model of cataloguing1 that research libraries and some archives use to describe, arrange and catalogue their primarily textual material. As Tim Schlak mentions in his article "Framing photographs, denying archives: the difficulty of focusing on archival photographs" (2008) for most archivists "photographs are very difficult objects to talk about, let alone classify, describe, and essentially 'own' as archival evidence"2 and that because of their "lack of visual literacy ... archivists working with photographic material often take textual models ... for written sources and apply them uncritically to visual materials."3 This is further emphasized by James Reilly in the chapter "Preserving Photograph Collections in Research Libraries: A Perspective" in Photograph Preservation and the Research Library (1991) where he states "a picture is worth a thousand words, or at least a thousand catalogue entries; one researcher

1 Reilly. Bernard and Porro, Jennifer. Photograph Preservation and the Research Library, Mountain View. (Calif: Research Libraries Group. 1991). 7 2 Schlak, Tim, "Framing photographs, denying archives: the difficulty of focusing on archival photographs", (Arch Sci. 2008), 85 3 Schlak, 86

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may seek for C?ne meaning and someone else seeks another - the same catalogue I entry is unlikely to satisfy both."4 This quote can also be applied to archival descriptive tools like finding aids, where traditional bibliographic-based or inventory-style models tend to not meet the multifaceted needs and characteristics of photographic collections. Similar to other complex materials like scrapbooks, photographs can have multiple meanings, address a multitude of subjects, and tell various different stories all within one frame. Therefore, description methods need to be less restrictive and more flexible and creative to show how multifaceted archival materials, collections, and specifically photographic material, really are. For example, just by looking at Ellen's Isle, Loch Katrine (Figure 3) taken by George Washington Wilson, we can address a multitude of topics including literature, geography, tourism, and

ee Scottish history, all within a single photographic frame.

After determining that the ASC's current method for creating finding aids did not fully suit the purpose of this

project, I turned to external resources for Figure 3 - Ellen's Isle, Loch Katrine by G.W. Wilson XSI MSA195 more insight. More recent literature Courtesy of the Scottish Collection, Archival & Special Collections, University of Guelph advocates for a shift in our perception and understanding of archival institutions. Such literature suggests that archives are more than passive repositories and that they are in fact active, creative and concept- , . building agents. Archivists need to become more aware of their collections' storytelling capabilities and unveil how finding aids have the potential for being

4 Reilly, Bernard, and Porro, Jennifer. Photograph Preservation and the Research Library. Mountain View, (Calif: Research Libraries Group, 1991), 7 ~-\

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innovative anp creative access tools that foster connections and build narratives within archival collections.s Thus, the proposed finding aid not only inventories or Hsts the ASC's photographic material pertaining to Scottish travel photography, but it also demonstrates how a finding aid can be used to link objects from different collections through a common theme or concept to tell a story. By combining both traditional and contemporary approaches, I hope to present a new model of building and structuring archival finding aids. This new model not only provides direct access to information about archival material, but it also meets the needs of the material and those researchers using it. The final product will not only highlight the importance of this photographic material and promote its use in future research endeavours, but it also demonstrates the wealth of photographic material that can be found in the ASC and similar repositories and the role they play in our ongoing understanding of the photographic medium and its history.

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5 Cook, Terry. "Archival Science and Postmodernism: New Formulations for Old Concepts." Archival Science 1, (2001), 7

11 Literature St,lrvey

Archives & Finding Aids: In order to construct an effective finding aid, one needs to step back and consider the origins and function of archival institutions. Dave Iredale's book Enjoying Archives: What They Are, Where to Find Them, How to Use Them (1973) and F.G. Emmison's Introduction to Archives (1978) provide thorough introductions to the foundation of archival collections and practices. Although slightly outdated references, they do demonstrate the basic functions of archival practice and more importantly explain the progress of archives throughout history. The National Archives of Canada's publication Using Archives: A Practical Guide for Researchers (1993), on the other hand. reflects more current topics in archival science, particularly with regards to access of material. The diverse nature of archival institutions and their clientele is the subject of I recent discussion pertaining to today's archival operations. Louise Craven's What are Archives?: Cultural and Theoretical Perspectives (2008) looks at recent developments in archival theory and practices, particularly with regards to the J impact of the internet and changing technologies. These changes have affected how ·1 users access archival information and is addressed in Randall C. Jimerson's article "Reference, Access and Use" (2003). where he suggests that, in order to provide I ! effective reference and access services, archival institutions need to place more i emphasis on identifying and understanding the new generation of clientele.6 One i method of providing archival users with more direct access to collections is through finding aids. In "Revisiting the Archival Finding Aid" (2007) Richard J. COX argues that resource materials like finding aids are problematic in their structure, order and presentation of information.7 Traditionally finding aids take on the form of a list or inventory, which on a basic level states the contents of a collection. While this

6 Jimerson, Randall C. "Reference, Access, and Use." OCLC Systems & Services, Vol. 19, No.1, (2003),13 7 Cox, Richard. "Revisiting the Archival Finding Aid." Journal ofArchival Organization. Vol. 5(4), (2007).11

12 proves usefu1.to a certain extent, it does not fully express the inherent value of the material. Cox suggests that re·evaluation and redesign of finding aids for the new generation of archival user~ is key to promoting and providing intellectual and physical access to archival material. This re-evaluation of the finding aid and what it represents derives from recent discourse in archival theory. Jimerson and Cox, in addition to Terry Cook in his article "Archival Science and Postmodernism: New Information for Old Concepts" (2001), address a conceptual shift away from more traditional passive and fixed approach to describing archival material towards a more conceptual way of generating narratives, similar to that of a curator generating an exhibition in a museum. Bernard Reilly and Jennifer Porro's edited volume Photograph Preservation and the Research Library (1991) primarily addresses the preservation of photographic objects in research libraries, but also discusses the complications and difficulties associated with photographic objects in regards to cataloging, preservation, and arrangement in archival settings. Tim Schlak's "Framing photographs, denying archives: the difficulty of focusing on archival photographs" (2008) addresses similar issues but with a different approach based out of postmodernist theory and photographic history. In addition Joan Schwartz's continuous work on the relationship between archives and photographic objects is an essential resource when discussing photographic archives in a Canadian context. Her papers '''Records of Simple Truth and Precision': Photography. Archives, and the Illusion of Control" (2000) and '''We make our-tools and our tools make us': Lessons from Photographs for the Practice, Politics, and Poetics of Diplomatics" (1995) ; equally argue that photographs are an integral part of archival collections and for acknowledging their role as historically significant objects.

13 Scottish Tourism & Photography: The photographic material described in my finding aid is fundamentally connected through similarities in production and use, specifically one that reflects photography's role in Scotland's thriving tourism industry in the nineteenth century. Within the established histories of photography-including Beaumont Newhall's History o/Photography: From 1839 to the Present (1964), Michel Frizot'sA New History 0/ Photography (1998), and Helmut and Alison Gernsheim's A Concise History 0/ Photography (1965)-such photographs tend to be grouped under the genre of travel photography and more emphasiS is placed on the work of expedition photographers like Francis Frith and Maxime du Camp who travelled to exotic and alluring locales. These standard histories of photography do commemorate the role of Scottish photographers George Washington Wilson (1823-1893)and James < Valentine (1815-1879) for their contributions to landscape photography and their commercial endeavours but are presented from a limited point of view on the subject that's more art and technology based. Mike Weaver's British Photography in the Nineteenth Century: The Fine Art Tradition (1989), Roy Flukinger's The Formative Decades: Photography in Great Britain, 1839-1920 (1985), and John Hannavy's Masters o/Victorian Photography (1976) are among the many more geographically specialized publications. These texts and others like Alan Thomas' The Expanding Eye: Photography and the Nineteenth Century Mind (1978) and John Hannavy's Victorian Photographers at Work (1997) provide a closer look at the social, technological and economic factors that shaped this prosperous era of photographic history and also provide a fundamental understanding of photography's role in England and the British Isles during this period. John Harmavy's Great Photographic Journeys: in the Footsteps 0/19th Century British Photographers (2007) and Rainer Fabian's book Masters o/Early Travel Photography (1983) come closer to providing a more concrete understanding of the social and economic environment in which pioneering travel photographers like Wilson and Valentine worked. Both texts highlight how the photographs they produced in their firms aided in the general popularization of travel at the end of the , "'\

14 nineteenth century; the conditions such photographers worked in; and their methods and formats of mass-production, including the travel album. Alison Nordstrom also provides a sound investigation of the nineteenth century travel industry and particularly the travel album in her dissertation "Voyages (per) Formed: Photography and Tourism in the Gilded Age" (2001). Although focusing on the journeys of American travelers, Nordstrom provides much-needed context for photographic objects similar to those presented in my finding aid for the ASC. Roger Taylor's George Washington Wilson: Artist and Photographer (1981) is the only publication that provides an in-depth biographical overview of Wilson's role as a photographer, the development of his publishing firm, and the many professional events that shaped his career. In the chapter "Tourism and Photography," Taylor specifically addresses the topics of travel and photography in his discussion of the technical, economic and social factors that contributed to the rise of one of Scotland's most successful photographic firms. John Hannavy's catalogue A Moment in Time: Scottish Contributions to Photography 1840-1920 (1983) does not focus on one photographer per se but instead explores the birth and early evolution of Scottish photography. In the chapter "The Romantic View", Hannavy provides a sound overview of the commercial travel view industry in Scotland and uses Wilson's and Valentine's firms as a platform to discuss the topic. Tom Normand's book Scottish Photography: A History (2007) on the other hand is a more recent publication that uses a more contemporary approach to tell the story of Scotland's photographic history from its beginnings to the present. The medium's active role in the tourism industry, particularly driven by the Victorian age in Britain, has yielded a plethora of photographic objects that have made their way into the literature and study of a variety of disciplines, including sociology, tourism, anthropology, and economics. Alastair Durie's Scotland for the Holidays: Tourism in Scotland c.1780-1939 (2003) aims to compile the history of Scotland's tourism industry into one small package. Durie does pay tribute to photography as an influential source of growth for the nation's tourism industry, but !. like much literature outside of the field of photography or art history only briefly addresses the topic. On the other hand, Peter Osborn merges the two topics-

15 photography qnd travel- in his book Travelling Light: Photography, Travel and Visual Culture (2000). Although he does not address the specific geographic location of Scotland, Osborne does provide a solid account of photography's perception, reception and function in visual culture and travel. Lastly, Roger Morris' publication Scotland 1907: The Many Scotlands o/Valentine and Sons Photography (2007) is an excellent case study that uses Valentine and Sons publishing firm as a platform to discuss the correlating factors that contributed to tourism in Scotland and the various identities of Scotland during this era.

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16 c .~'- -. ~ \ I - Part 11- Finding Aid

t 7 r A Tour Through Scotland: A Finding Aid of Scottish Travel Photography at the Archival & Special Collections, University of Guelph

Table of Contents

• Introduction • Administrative History • University of Guelph McLaughlin Library Rare Book CoHection • University of Guelph McLaughlin Library Restricted Collection • Clarke E. Leverette ColJection • Scottish Collection • Scope & Content • Historical Overview - The Nineteenth Century Scottish Travel View Industry • Content List • Geographic Index • Biographical Sketches • Queen Victoria (1819-1901) • Scott, Sir Walter (1771-1832) • Valentine, James (1815-1879) • Wilson, George Washington (1823-1893) • Glossary of Photographic Terms • Further Readings

1 Introduction,

The following finding aid describes a group of photographs housed in the Archival & Special Collections that explores the evolution of Scotland's tourism industry during the second half of the nineteenth century through its visual I representation through photography. In the 1850s, entrepreneurs opened photography studios and publishing firms that created an abundance of I! ! photographic objects which, in turn, both stimulated tourism to Scotland and ! catered to tourists who sought visual mementoes of their travels. As a result, this era I yielded a surplus of travel views, bound albums, travel view books, stereographic I cards, and a variety of other photographic formats - many examples of which can be found in the Archival & Special Collections. The material the Archives has pertaining to this specific area of Scottish history resides in four areas of the collection-these include the University of Guelph's McLaughlin Library Rare Book and Restricted Collections, the Clarke E. Leverette Collection, and the Scottish Collection. This finding aid includes additional research information to provide a more sound understanding of the historical, technological, and social elements associated with this specific group of photographic material, including biographical excerpts, an extended historical account of photography's role in Scotland's tourism industry, a glossary of photographic terms, a geographic index of key locations represented, and a selection of publications for further reading.

19 " Administrative History ! I University of Guelph McLaughlin Library Rare Book Collection At the turn of the nineteenth century, part of the initiative to expand the

II Ontario Agriculture College (OAC) was to establish funding for the College's first library. The Massey Library, the first official library of the University of Guelph, was also the first home of the University's rare book collection. This collection was transferred to the McLaughlin Library upon its establishment in 1968 and has , I " ¥ I subsequently been stored in its current location in the Rare Book Room at the I Archival & Special Collections after it opened its doors in the 1980s. This collection ! of over 20,000 rare book publications date between the sixteenth and twentieth centuries and address a variety of topics that includes literature, apiculture, history, f geography, agriculture, botany, travel, and religion. I I !, University of Guelph McLaughlin Library Restricted Collection Established in 1968, the University of Guelph's McLaughlin Library is a research facility for" students, faculty, alumni, and external researchers. Among the McLaughlin Library's two million volumes is a selection of publications that have been restricted from regular circulation for various reasons, including subject matter, value, or rarity. These books have been relocated to the Archival & Special Collections and are accessible to users by spec}al request.

Clarke E. Leverette Collection This comprehensive collection of stereographic photography was originally compiled by Clarke E. Leverette and donated to the Archival & Special Collections in 1987. A majority of the collection.includes primary examples of stereographic cards, but also includes supporting research information on the production industry of stereographic photography, as well as specialized equipment used to view the material. The collection includes thousands of stereographic cards that depict locations across the globe including Scotland, India, and China and includes material

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produced by p,ublishing companies such as Underwood & Underwood and the Keystone View Company.

Scottish Collection The University of Guelph is home to one of the largest collections of Scottish material outside of the United Kingdom. The Scottish Collection was first established in 1965 and is home to thousands of rare books, manuscripts, diaries, atlases, and letters, with the earliest item dating back to the 1300s. This collection also functions as an extension of the University's academic curriculum in Scottish studies and includes material that addresses Scottish history, travel, economics, clan histories, geography, politics and the Jacobite rebellions.

21 I. d Scope & Content

The group of material described in this finding aid represents a variety of photographic formats including albumen print travel views, photo mechanical reproduction views and books, bound albums, and stereographic cards, that have been chiefly produced by Scottish photographers James Valentine (1815-1879) and George Washington Wilson (1823-1893). Overall, this group of material contains 847 travel views of Scotland from the nineteenth and early twentieth century.

This finding aid covers the following material:

• 4 bound photograph albums that contain 263 albumen prints

• 436 stereographic views

• 7 travel view books with 143 photomechanical prints

I • 50palines I

Ii. i' I ,f t ;. ~ i l f I f ! I 22 I--l: Historical Overview - The Nineteenth Century Scottish Travel View Industry

Whether it is to take part in its sporting opportunities, to discover its rich historical past, or to bask in its picturesque scenery, tourists have been drawn to ScotJand for more than three centuries and tourism remains one of the nation's largest industries. However, Scotland's reputation as a popular tourist destination only emerged during the nineteenth century. Although there are various reasons why Scotland became so popular during this period, it has generally been attributed to a combination of three factors that includes Queen Victoria, improvements in transportation, and the influence of Romantic art and literature. Simultaneously, the rapid advancement of photographic technologies and of the medium's pervasive use and popularity created a role for photography in Scotland's tourism industry as both , souvenir and promotional tool. After its official introduction in 1839, photography quickly became one of the most pervasive communication tools of the Victorian era and early photographic

I! processes like the daguerreotype dramatically changed the way people visually I r understood the world. To be a photographer during this period required a ! specialized skill set that involved a combined knowledge of aesthetics, chemistry, I 1 i optics, and business. Photography's widespread capabilities were further realized ! with the introduction of the wet collodion process2 in 1851. Unlike the one-of-a-kind daguerreotype process, the wet collodion process was capable of producing mUltiple It y photographic prints from a single negative. It aJso reduced exposure time and I through the use of a glass negative achieved impeccable sharpness and clarity. These technological advancements allowed for a greater quantity of prints to be produced and further revolutionized the photograph as a commercial commodity. Since these advancements in photographic technology enabled photographers to travel more easily to remote locations with their equipment and be less confined to the darkroom, photography became an excellent form of visual representation for

1 Morris, R. J. Scotland 1907: The Many Scotlands o/Valentine and Sons, Photographers. (Edinburgh: Birlinn, 2007), 3 2 See glossary

23 - promoting the travel industry. The expansion of the railway and steamship networks, as well as the introduction of the package tour, allowed greater access to places that were once inacc~ssible; as a result, Scotland became a popular and affordable tourist destination. Among this influx of tourists was a new population of travelers that consisted of the middle and working classes.

In response to this increase in the number of tourists, a surge of entrepreneurs capitalized on photographic technology to cater to the rising demands of these new visitors who wanted visual mementoes of their travels. Although Scotland had its share of opportunists who sought to make their fortunes in the photography business, the travel photography market was dominated by two of Scotland's most prolific photographers - James Valentine (1815-1879) of Dundee and George Washington Wilson (1823-1893) of Aberdeen. Commercial production studios and publishing firms such as Valentine & Sons, Ltd. and G.W. Wilson & Co. produced an immense number of travel views that were actively sold to the travelling public.

P'HOTOG RAPHS~'O'F~ SCOTTISH ""SeEN ERY

PnOTQ(UtAl'UJ!.1I. BY To IhtJl }.[.ur.n1' SPl£.UL AI"J'1)JNTMKNT; 't Tu& QU&KN. DUNDE'E, Kmhradng a very lar~ ~rlrs or tho princitw plACes of interl'~t iu the l..owlanll.s M.I UighUIHbJ, in htl'J:ltTAJ, (8 )( 10), C""l}cF.T, C.UtD. and SnR.l"~"')I·lO Sl~ "

Figure 4· J. Valentine & Co. Advertisement from Black's Picturesque Tourist of Scotland (1879) DA 870 .B624 1879 Courtesy ofthe University of Guelph Mclaughlin Library Restricted Collection

Such views commonly depicted scenes of the picturesque lochs, castles, monuments, churches, and scenery popular on the tourist itinerary. Photographers 'II I like Wilson and Valentine would travel to such locations where they would capture . l!

'tvl'I~;1 .1 24

l!t. , . ------:~ .. the scene on a prepared glass plate. The glass negative would then be brought back to the studio to be contact printed under the sun onto albumen paper. Although many of these views were sold individually, they were often collected and bound into albums or adhered to other presentation formats Hke opaHnes3 (Figure 5) for tourists to take home, admire, and show to their friends and family. Such

views were also produced as Figure 5 - Opalines produced by G.W. Wilson & Co. from the ASe Scottish Collection (ca. 1880-1889) stereographic cards (Figure XSIMSA146 Courtesy of the Scottish Collection, Archival & Special 6), which with the help of a Collections, University of Guelph specialized viewer created the illusion of depth and three-dimensionality. By the . end of the century, technology enabled photographic imagery to be reproduced through printmaking formats including lithography and halftone reproduction. As a result, travel views began to be photomechanically reproduced and published in mass-marketed travel view books.

~: I 3 Opaline _ A presentation format comprised of an albumen print that is face mounted to a i! beveled piece of glass. using gelatin as a binder. and is then adhered to a decorative mount or support.

25 Figure 6 - Stereographic card of Dryburgh Abbey by G.W. Wilson & Co. XM3 MS A168 Courtesy of the Clarke E. Leverette Collection, Archival & Special Collections, University of Guelph PhotogrJphers such as Valentine and Wilson were also quick to respond to the demands of tourists who sought after photographic representations of the romantic view of Scotland portrayed in popular novels and poetry of the time.4 Literary voices, for instance that of poet Sir Walter Scott, unveiled the beauties of the tranquil lochs, rolling hills, and picturesque scenery of the Scottish landscape. Publications such as Scott's Lady a/the Lake (1810) drew record numbers of tourists to Scotland to witness the beauty recounted by Scott's poetic words. Loch Katrine and the Trossachs, to name only two, were made famous by such novels and poems, and places and monuments associdted with literary figures became popular tourist destinations. After their first visit to Scotland in 1842, Queen Victoria and Prince Albert returned on numerous occasions and developed a deep admiration for the country. This strong connection led Queen Victoria and Prince Albert to select Balmoral Castle (Figure 7) in Aberdeenshire as the location of their summer residence. As a consequence of this royal recognition, Scotland grew even more fashionable as a tourist destination. Queen Victoria and Prince Albert strongly supported the

4 Hannavy, John. A Mom ent in Tim e: Scottish Contributions to Photography, 1840-1920. (Glasgow: Third Eye Centre, 1983), 19 photogr aphic meuium and commissio n ed Wilson to personally photograph the reconstruction of their summer home at Ralmoral in the 1850s. This

commission led to J long and prosperous business

relationship between Wilson Figure 7 - Balmoral from the River by James Valentine (ca. 1890) XS1 MS A223 and the Queen. Courtesy of the Scottish Collection, Archival & Special Collections, University of Guelph Subsequently, in the 1860s, both Valentine and Wilson received the prestigious honour of becoming Royal Photographers, which instantaneously elevated their commercial success. Thus, it is clear that in addition to advancements in transportation, the influence of Romantic literature and art, and the influence of Queen Victoria, photography played an integral role in the development and promotion of Scotland's tourism industry in the nineteenth century, particularly through the production of tourist literature and souvenirs. Although a relatively young medium by the mid-nineteenth century, photographic technologies rapidly advanced by the 1850s and entrepreneurs across Scotbnd introduced photography into their

commercial repertoires. Over the course of haIfa century, firms like V~ll c ntine &

Sons and G.W. Wilson & Co. produced hundreds of thousands of travel views of Scotland's picturesque scenery and sites that were in demand by Victorian tourists.

Either sold individually, or collectively bound into an album, many examples of the travel views from this era can be found in the Archival & Special Collections at the

University of Guelph.

27 z • Content List

• DA 880 S6 M4 ' Photographic view album - "Memories of Skye" • DA 890 A18VS Photographic view album - "Views of Abbotsford" • DA 890.B7 P4S Photographic view album of Brechin and District • sOS62b18 Photographic view album of the land of Burns • s060SbOS Photographic view album of Glasgow in the exhibition year • s060Sb06 Photographic view album of Glenfarg & vicinity • s060Sb07 Photographic view album of Perth • XSl MSA146 Opalines relating to Robert Burns • XSl MSA19S Album of cabinet and imperial albumen prints of Scotland • XSl MSA206 Photograph album of Scottish Highland scenes • XSl MSA223 Scottish Scenery • XSl MSA306 Album of Scottish views of River Tay from Perth to Killin • XM3 MS A070 - Selection of Scottish stereoscopic views XM3 MSA173

lI,

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Photographic view album -"Memories of Skye" ca. 1915-20 DA880 S6 M4 Guelph McLaughlin Restricted Collection. Photographer: Valentine, James (1815-1879) Publisher: Valentine & Sons, Ltd. (Dundee, Scotland)

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30 N(

Photographic view album - "Views of Abbotsford" ca.l900 DA 890 Al8 V5 Guelph McLaughlin Restricted Collection Photographer: Valentine, James (1815-1879) Publisher: Valentine & Sons, Ltd. (Dundee, Scotland)

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31 r .-- -. . .-

Photographic View Album of Brechin and District ca. 1902 DA 890.B7 P45 Guelph McLaughlin Restricted Collection Photographer: Valentine, James (1815-1879) Publisher: D.B. Mackie (Brechin, Scotland)

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Photographic view album of the land of Burns: from Burns' Monument, Ayr ca. 1860-1880s S0562b18 Guelph McLaughlin Rare Book Collection Photographer: Wilson, George Washington (1823-1893) Publisher: G.W. Wilson & Co. (Aberdeen, Scotland)

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33 r"' Photographic view album of Glasgow in the exhibition year \' ca. 1901 S060SbOS Guelph McLaughlin Rare Book Collection Photographer: Valentine, James (1815-1879) Publisher: Valentine & Sons, Ltd. (~undee, Scotland)

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~"-,------,-"',--"""' ..... ~,-- \, Photographic view album of Glenfarg & vicinity ca. 18905 S060Sb06 Guelph McLaughlin Rare Book Collection Photographer: Wilson, George Washington (1823-1893) Publisher: G.W. Wilson & Co. (Aberdeen, Scotland)

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36 Photographic view album of Perth \. ca. 1890-19005 S0605b07 Guelph McLaughlin Rare Book Collection Photographer: Valentine, James (1815-1879) Publisher: Valentine & Sons, Ltd. (Dundee, Scotland)

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Opalines of Robert Burns: cottage, grave and monument, and Doon River. Alloway ca. 1880-1889 XS1 MSA146 , Scottish Collection Wilson, George Washington (1823-1893)

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Album of cabinet and imperial albumen prints chiefly ofScotl~nd ca. 1890 '" XS1 MSA195 Scottish Collection Photographer: Wilson, George Washington (1823-1893); Valentine, James (1815-1879)

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~IJ l' 't!~J~'!· ;:" -~ "..._ ... -"''';'''--- Ir----- ,...... _."._.... "... -.".. -...... -...... T .... ····· ..····· .. ···· ...... --- .... --.. - ...... -.. - ...... -...... - .. --..... --...... --.-.---- ...... ---.--.--...... "...... ------.-~ i_?~ ___ Ly~I..eE.t!11.~ .. J~ __ .... -.-,,!J3!:!.9g~()t!?Qch~!!LKm!.'!-____._~ _____.______I Albumen print ~03 _ : t}~~!~:!~:=~=J:~i\~~t~f~i;~:~~~-===~===-=~~i~~il=-=~-~:±iiJ~==d i 31 .. LValentine, 1... Birnam Hill from East .LNbl1l1'!~l'lpr.iI'lt.~..._...... ____ ..J ____ .... __ ... __ ..... __ .J

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1.~~.:··~··:::.i-.:~~~~~8:.~~ _~: ~~~~~~d~~~~~:yWe~_t (with traffic) ------_. ------_. -- : ~~~~::~_~~:~~ _-______- --J- ~~~ -~._ ~_ -j 1 68 1 W~ls()n, G.V{. i Waterfall !n Dunrobin Glen ____ ._.___ ;.__ .. ___ j_ Albun~e_n pr~~1__ -- _------l-ZJQ _ -- ____ I - ~it~1~E~~~~~:=~~~~~O~~E~~~-~_~e~=-=~~~~~_~ Z.!._ ... _... .l .. y.!1_~.!:lg.~!,l ...... _.. .L .. '.'.I~~p!_t:!.~_~~::._ .... ;._ ...... _...... _...... _.. __ .... _..... _..... __ ... _.. _.. _._ ...... _.. _ ...... _._ ...... _...... _...... _...... _...... __ .... J... A.!.!?_~.~.~E.P.~!.r.!.~_ ._ .. ___ ._._._.._1__ ...... ______..... i

~;"'i j,..i i-i-i...-ii ~-iL.~ 17 ~-~------Photograph album of Scottish Highland scenes \' ca. 1888-1900 XS1 MS A206 Scottish Collection Photographer: Wilson, George Washington (1823-1893); Valentine, James (1815-1879)

Page M k TOtI P Negative a er I e rocess N N o. o.

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Photograph Album - "Scottish Scenery" I' ca. 18605 XS1 MS A223 Scottish Collection Photographer: Valentine, fames (1815-1879)

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--~-.:;.:----~.~-~ :«------'---"---'-----'---..:..:.....-.--.--."-.. -----~-.--... - ...... ••$ -! I~- ,. Album of Scottish albumen prints of River Tay from Perth to Killin

ca. 1890s ! . XS1 MS A306 ' Scottish Collection Photographer: Valentine, James (1815-1879) Publisher: Valentine & Sons, Ltd. (Dundee, Scotland)

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.-----'.....;;.:....:;"'--'-"-'-.::."------"~.--~-... --. Selection of Scottish stereoscopic views XM3 MS A070 - XM3 MS A173 Clarke E. Leverette Collection

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Call No. i Maker IPublisher , Title I DrNawer .·i· ...... _...... _-._- ... ", .. ,' .y •• ~ ....rl .... ~ "',,"_,••• ~ •••• _ ....~ __ •••• ·N~ .. _ _._M .... _.... '" M"._"·._····,· ... ·.. ·.~.··.~ _____._~.~~ __."."'_~.~ .. ,.,.,_~_~.--+._ .... ,.... ~_.~ __ .. ____ .__ ._"._'N_ .... ~~_, ___~, __ ~·~_.·_·······~~,··"'~""._'N_~ .. ·__ ···_··,~_~~~ __·_· __..... ~-.------.. -,----,,~ .. ~~~-l .. ~-.-.---~ ... ~-~ .. - XM3 MS A072 ! UnknQwn ...... "..".".. "...._LQ!?.~I1~~EgY~~~.~ir~1 Scotland ..."''____ .. '' .. ! 3 XM3 MS A072 ! Unknown I On the Findhorn, Scotland ··M3M.S.~Q.?~.]~M~1{~.~~~~:~·Q~(~.. t.~jiJ~1. .. =.... "· .. :::~=~:::=~==~· ... =:.~::.::·=~~.Q:~h~K~t.!:!ri.~·~::~~iL~~·~:~,,~::= .... =~: .. :~ ..=~::~~==.=""~::: ...=~.~,,. M3 MS A076 : J. H. Ford (Belleville) ; Trosacha Hotel . X~}"MS,,~O 7 6:J. M·. yord (~e I! ~\li 11 E! ) ...... " .. " ...... "...... """".,,-.- .. -----1-- ~9~h.!'!~~~!fr.°!r.l~~~tl~yr~"1l,,~~E! ...... ~ .. _... ,, .. _.." .. ---""...... --~"L?--"",,-1 ~ .. ~~.~~ ~ .. ~6·~: ····!-·~·~~~~:I~·~·~·~,,·[Hin~~~·~:···~:~·l-.-"" ...... -······-···- .. "-" .. -·----··"" .. -l-~~i~~~;~~b:d, ~~~~a~d~~me-~~Jl!~~gg~!.-:,,~.~P..!1-~E.~- ... -.. t·"~--"--"-"1 f:~~~!~~fft~~€?i~~~~~~~~~~:-=~~t:~:1~~~~~~~~~~~~~-=-+}}~~~ ! ;...... XM3 MS A08D..... ".. ~: ..... Unknown "...... -.... "... "' ... " ...... -.. -...... __ .--.... - ...... "'...... Lake Cathrine,...... -Scotland...... -.. -.. -.. ~~-...... "-.. ,, ...... "" ...... --...... ,,~ .... - ...... "' .... L-""11 .. -...... _ ..... ".. ! XM3 MS AD81 i Unknown, i Anochar Mts., Scotland I 12 ! ~~lj~ii~~72~~~~]i~i~2~~~~~;~:{i:1 I XM3MS A081 i Un]{nown. . .: Balmoral Castle - Scotland . : 12 ["x.~~3·~IAO_~I~ry·~~~q~~ •• :~-~:::~,,: .. :::~ ..= .. ·:·,,·:,,_~= .. :.:~.=""::~.. :::::.:::.:,,::,,"~.. =::~= .•• :.,,:.=,,::.:.::: .. :: .. :.. =~I~~:~I~i~:~Et~n~~~ deE ...:?~E .. ~f~~~(""~:=~~~=~ .. ·.:_=::::·:·=,,.:.::.:~~~:I:I? ...... __ ." ...... i ! XM3 MS AD81 Unknown I Gloucester Cathedral : 12 i

au ~"-..... " .... ,"."..... ,_ ...... XM3MSAOS1 I .. ··..· n L'_ _C' ••1 . ..l 12

XM3 MS A081 I' -. 'H :::;"..!F,';; of'" tt .J _ c" ..,l 12

XM3 MS AOS1 l' -. Inverness - C" ..,l 12 ___XM3.. MSAS, ..... 1'.. 1. ... " Old Town, r.'· '_ <"' .1 .J 12 XM3 MS A082 u~· ~jerstad~ Publisher / Sold by Underwood & Kelso Abbey ".u';;, vv 'VY XM3 MS A082 U~'. ~jerstad~ Publisher / Sold by Underwo~d & Town, Edinburgh 13 'u,;;. vv ,vu XM3 MS AOS2 ~'. ~ierstad~ Publisher / Sold by Underwood & Prince's Street, Edinburgh 13 . ______... IIIUt:l. "VUUU ._ ...... _...... C. Bierstadt Publisher / Sold by Underwood & T R k GI E . C I 13 XM3 MS AOS2 . ..l. .J ower oc s, en yne. o. UJIl U c ..•.. VVl.1U u.. XM3 MS AOS2 ~~ ~ierstadt Publisher / Sold by Underwood & Glen Cathedral- Watkins Glen. 13 L .ueJ .vvvu /XM3 MS A082 CU' Bdierstaddt Publisher / Sold by Underwood & Holyrood Palace, Edinburgh 13 n erwoo XM3 MS A082 CU' Bdierstaddt Publisher / Sold by Underwood & Castle Leod, Ross-Shire 13 n erwoo ...... - ._-_. XM3 MS A082 l~'- Bierstad~ Publisher / Sold by Underwood & Edinburgh 13 'U<; vv IU

. XM3 MS A082 ~'n~:~::~ Publisher / Sold by Underwood & .J from the Bridge 13 ! ..... --- ...... - •.. --. XM3 MS A082 U~~ Bierstad~ Publisher / Sold by Underwood & Melrose Abbey IlJUt:l vvuuu XM3 MS A082 U~~ Bierstad~ Publisher / Sold by Underwood & Olivet and Gethsemane from City Wall fI,U",,' VY IVU XM3 MS AOS2 u~·. ~ierstad~ Publisher / Sold by Underwood & Burn's Monument 13 IIlUt:l,VUUU XM3 MS AOS2 u~·. Bierstad~ Publisher / Sold by Underwood & Queed's Statue, Glasgow 13 'I'UIO VY ...I\;U XM3 MS AOS2 ~: Bierstad~ Publisher / Sold by Underwood & Scott's Monume~t, Edinburgh 13 UIlUt:l vvuvu

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Scott's Monument, Edinburgh 13

Castle Lead, Ross-Shire 13

_...... _.. _. __ ...... _...- .... __ ._._--_ •.•... ----.. - '---'-'-"'-- --.... ------.---..- .. -- ....----- ..----. Edinburgh 13

The Necropolis, Glasgow 13

Edinburgh 13

----.. ~--,~~~~~~ Edinburgh Castle, From Grass Market 13

~XM3 MS A083 Kilburn Brothers (Littleton, N.H) Nelson's Monument and Calton Hill, Edinburgh - 14

XM3 MS A083 B.W. Kilburn (Littleton, N.H) 14

... ", "". ~ .. , ,,~-. XM3 MSA083 B.W. Kilburn (Littleton, N.H) 14

XM3 MS A083 B.W. Kilburn Scotland 14

AIV l3 MS A083 B.W. Kilburn (Littleton, N.H) 14 XM3 MS ADS3 B.W. 14 XM3 MS AOS3 B.W. Kilburn (Littleton, N.H) 14

XM3 MS AD83 B.W. Kilburn (Littleton, N.H) XM3MSA083 . . B. W. Kilburn (Littleton, N.H) XM3MSA083 . . B. W. Kilburn (Littleton, N.H) 14

52 1

..... "._._..... "._ ...... "... ".-.-_."r-" ..-.-" ..... ".. ".- .. "." ...... "."."." ...... "...... -"~,, ...... ; ...... '''''''' .. ".-.. ----".. ".. """ .... ''''''- ...... ""."----'-"- ···"-T"-·-······,,---·-·"··"··· .. "---.. "."." .. -.""...... ",,-.,, ... -._.--- XM3 MS ADS3 B.W. Kilburn (Littleton, N.H) The Silver Sst~:~~:;d Elens Isle, Loch Katrine, 14 XM3 MS AOS3 of Scotland , . ."""""""._----".. _-,,-._,,.,,""""- XM3 MS A092 Balmoral from the South 23 ;' 3 MS A092 Edinburgh Castle 23

XM3 MSA092 KilJ:>urn Br()~her:~ (~H"t1~to.I!~!'J:H·J S~!!l!l1g~a~~I~,,,Sc()~ICl!1d 2.. 3:: ...... "._,,1 XM3 MS A092 Kilburn Brothers (Littleton, N.H.) Stirling Castle, Scotland 23 XM3 MS A092 Kilburn Brothers Melrose Scotland 23 XM3 MS A092 Kilburn Broth"~rs Sir Walter Scott's Monum.~!:l~'.~c:lil1J?"u_r:gh!. .. ~.5Ql:!~I1A XM3 MS A092 Kilburn Brothers (Littleton, N.H.) Sir Walter Scott's Monument, Edinburgh, Scotland 23 Kilburn Brothers (Littleton, 23 Kilburn Brothers (Littleton, N.H.) 23 Kilburn Brothers Lomond and Glensloy, from Inversnaid, 23 - Scotland ~~c:,,_ ... """""""".~".""_"_" ...... "" __ ... """ .. "_,,+"" ...... _.... 1 XM3 MS A092 - Scotland 23 XM3 MS A095 B.W. Kilburn (LittI~t0!1' N:tD _ 26 XM3 MS A095 B~W. Kilburn (LittletoIl,N~tl) 26 XM3 MSA095 . . B. W. KIlburn (Littleton, N.H) 26

...... ~.~"".~ .. ~~ .... - B. W. "Kilburn (Littleton, N.H) 26

26 26 N€!~t.9wn from old towl1,gc:l!I}J:>!lrghtS<;()~I"'I}<:l.... 26 New old Scotland ~"-"" .. ".".-".--"""".------,~"-"-,, .. -""-~

."."---""-"._--_. _. ,..------

\, L'-ijj'ipiicatej'''··-r~~:~··:·'~··~~_~~:~:·:~-=-..---=~.··~'.·~~·~=~.~.~~='=·-·.:·.~-=:~-=-~==~~T--===:=-.~,,==' ::.~~==~~~ ___ ._". ___ "._-' ______~ __ .__ ~)~M3}1S _A09S ~. ~"W! Jiilburn (Little~on, N.H) . _.. _.. _. ____ "__ "". _. __ "'_ ...... _L~a)tP!lc Hill, from Old Town,_;qin~J:lrg~2~o!!~!1_q. __ . __ .... l?~ ___ ... ___ _ I XM3 MS A095 ! B W. K'lb (L'ttl t N H'l I. Among the Flowers, Botanic Garden, Edinburgh, ! 26 i (JJ r t) ! ' . I urn I eon, ' J 'S I d I i up rca e i i cot an ' r""""-~'~'-' r'"'"""-r"'--'--'''~''''''~~M'~~'''''"''''-''--~'''-''~'-''".,.~",.-.",~ ... " .. ", ..•.... ~-.---,."-~.~~~--~"", .. ,, .. ~ ... ---...... _. __ ..... ~~_m___ ... _N~"······'····t' .. m .... ~' ..~ .... ~_ • ..---.~~_ ..... ~, ••• , ... _ •• """'."'."...... "~,_~.,'~" .. ,,.,.,.,_~ __ •• ,."'.,...... ,·." •• ••• ...... u...,,,· .. _~ ...... "" .. __ ·,·~ ...... ,, .. '" ,~_.~".,... ~ __~''''' ..•..• m_~'''~_,., ...•.. "_M'_'~ __ , 1 X~! ~:c~~:: I B. W. Kilburn (Littleton, N.H) I ~:~/:~~he Flowers, Botanic Garden, Edinburgh, I ~b I [~t~~AQ?II~~~,~:~n~~~~~(id~!I~~~~~ii;~·~;ti.j=~~=__ -.·=~==:=.::~==:j:.~Th~~Gr.~~!I9:~!h:~if~ge~_~~~~:g·~~Qu~g1!~~~.9j!~~~_:=::~-:_~~=.:== 1 X~! ~::a~:)5 I B. W. Kilburn (Littleton, N,H) I The Great Forth Bridge near Edinburgh, Scotland /26 . r"'-'" C~41p,'_ .. _~_~_ ...... _...... "'_ .. _-"'- ...... ---"' .... ---... ,- .. --.. --.... -..... -----..... -----... --.-"'-_.. --.+ ...... -,-_.------,--.. -"' ... -,--. '.. - .... -----~;~------'-.. . f-J(M?_M?_~Q2?+~:W..!.~1!!?l:lrn l~l.t~letsE:1.!_!'!:_f:!) ____ .. _____ .... __... _.... _._._ .... __ ~_IJ.:t~G£~~!££rth ~£t9g~!.. ~.. ~'!~_;9!!!P.!:1.!gh! SC.~!!.Cl!!_~ ...... _J.. ..?.. ~ __ ...

XM3 MS A095 i B W. K'lb (L' I NH'1 'I U' . .FGl Sid I, 26 Du licate) I ' . I urn Itt eton, . J mverslty OJ asgow, cot an i .__ ,.... C~ p - .... _.... -+, .. _ .. _~ __ ."' .. __ .... _, ____ .. ,_. __.. ___ ..... __ ~ .. _ .• ,.. ,_, .. _ ...... _____ .. _._. ____,_ .. _____...... !- __. _____ .___ ,_ .. __ ., __ .. _.. _,______. ___ .. __ ., ______: __ ,, ___. __ ._ ! XM3 MS A095 I B.W. Kilburn (Littleton. N,H) I Ssir WiIIiam Wallace's Prison, Dumbarton Castle, I 26 'j i l ~ . , co tl an d ! ! r· .. ·.. '··· .. -.. --.... ,..... "'-...... -...... -j ..... ,... -' .... --- ... _._.- .. ,...... -.-.... -... -.... " .. ---...... ,.... -- ... -.... ,-.. - ... "' ...... --_.. --.. ---.... -_... --.. ,-... - ...... -.... -..... -"' ...... -, .. -.----.. --...... --.... ,.... -... -~- .... - .. ---.-,-.. ---,-----'''-- .---.. +---... -.-.. - .. - .. ~ i":~'~~ ~-~~1~·ij~,,·· .. t·"·'~:~: ~!~~~~~···(~:~~:·:i~,~:·~:~,)--"' .. --·--'········-..--.. --.. "'""---.. -·-l·~i:~i~i ..!!~i~·~·~~c~:·!fc~W~~J1P-~~~~tl~'-.~~0 t!.Cl.!!.~_ .... --+~~------J L::~H~:_~$.:!s.Q.2~~:~I~:w:~gii~~r~_{Litif~!Qri:~B;BI=-.... ":.: ..· .... ~==-"'_ .. ~:~ .. ::~::~~::=~_-==tIE~.:~I~~'~::~9!iI:~~:.~·!j,!11~iIC

t' .. "-~-"-.... -.-.-"."".,-"'.--... ,.. ,."'.~,---t .. '".".,., .. -_~ ...... """""'" .. """_...... ""''''''~.,._"_".'''''' .. "... _.-.. -.---~,~,--." .... ,-.• .--~~----...... "".-_..... ,__ ... "'''.,, ___...... " ... """___ ".,"._g, ___ ,~." ..... __ .. w .... .-_ ....." ... '"'"'.~ •••••••••••• , ••• """~ ____... ,,_,~ ...... ___ ~,,_ •••• ~~,_ ..... _ ...... ~_"'~." .."'_'''' __ •• ~ __.. '''+.'''''' ___ >''''''' ...... ,._.""""'j i XM3 MS A095 I B W. K'ib (L' 1 N H') I B d'7' h H I H' hI d SId I 26 ! ! Du /icate) i . , 1 urn Itt eton, . J I envenue an I rossac S ote, Ig an s, cot an i ! '''-.. ,-,(- Pr ·... "... 'T""···' ''''--,-, ...... "".. ,.,'', ..... ,''''".-.. ""." ...... "-... ,...... ,...... ", ... ,'-"""...... ,-.""."-_...... ,,,, ...... -... ,··-·-... ·..... - .. - .. "-,· .... ·,, ..--""'1"· ...... ·------,,· .. ,,· ...... ,.. -"...... --.. --.... ,,-' ... -----.. '...... - .. -,'...... -.----"...... ".. -- ...... " ...... "...... --" ...... ~.~.~_.M.?AQ2.? ... _..I ... !l:~·.~i.II:>!1X!! .. (~.i.ttl.~.tq~, ... f.'! ..:.~). -.. ---...... --- ...... -...... ---- ...... ".. ~-...J1:9£~_~(lt,E!.~.~ .... ~.9(l~ ... ~Cl.. ~ .. 9.i~g,_B}gh)~~.9~,_.~£9,!!.(l~9_ I.. XM 3 MS A 095 .... J... B. vy. Kilburn (Li ttl e t()n, N ,H) _.... _._ . ______.___. ______.. _.. __ t.Ih(;!_~ i gh!Cl!!d<:o ttage,.I!2~~(l_cJ1~'_Jl igh I a~9_~!."S. .. (;9_~1..Cl!!_9_

...... ~

.... -.--~ .. -.... --- ..... -.. ---" ..-- ... ------.. ----- , .. __.,.,., __ ...... _... ,,,._"_ ...... ,, .... _...... __...... __...... "_ .. _.,_._._ .... __ ~~., ___ ... _ .. _._.~. ___. .l!.~._... .._, __. !,...... X~! J~P ~:c~~:t ...... _.-;._ I B. .. _.W. ___ Kilburn..... _...... (Littleton, ____ ...... _ N.H)...... __ ...... _... ~_._ .. ,...... __ The.. _ High/~nd.. _.. _ Cottage,...... _._ .. _.. ___ Trossachs,..... _ ..... _~.Highlands, __ ...... Scotland ___ ...... _ ~! 26 ...... 1 XM3 MS A095 I B.W. Kilburn (Littleton, N.H) j ~::t~ah:Je Fitz James lost his Gallant Gray, Trossahcs, I 26 I r-.... ···-.. ---·.. ··----...... ,· ...... · .... ,1 .. - ...... , ...... __...... , ...... -.. _...... -...,-' ...... __... '.. _-'" ...... '... _-"' ...... _-.... -... _'...... _.., ...... -.... _-_...... _.. _- ... "'._._.. _...... -.... ~·--_ .. ·"' .. ·· ...... · ...... ·· ...... · ..... ·"'--····I··,-.. ,··· ..· .. ··_--""'1 I XM3 MS A095 I B.W. Kilburn (Littleton, N.H) II LSOCth] Kadtrine from Stonachlachar Pier, Highlands, I 26' I " ; co an I r" .. .. t .. ··· ..... -.... -...... , .... "..... "" .. " ...... ".. - ..... _" ...... --"." ... ". "."'"."...... --_ .. -"." .. -...... ,.,"'., .. -"., .. ----.-...... -...... ; ...... ,,---...... "' ...... '...... '.. "..... -.-...... -' .... -; .. ~; .; ...... ··-.. -..···--r"·_·- ..···_ .... ·j 1 XM3 MS A095 I B W. K'lb (L·ttl t N H) lnversnGld Waterfall, scene of Wordsworth s HIghland ; 26 I r~~::~~~:~··~· ~~~;;L~~~;~~~~~~~~~~~~·-·---f·~s ~;t~I':s~d°;;M:e":°e~~~;r: the Poet was Born:Ayr. 12;--1 'I ! co an ~ •••• __""" ..."_ ...... "' __ ~ •• u ...mN~ •• ' ••'" •• ___ ~ •• ~",.w~,,~, , ...... _... _•.. __ ._.... _.~ ...... ~ ... _ ..... "."" .• _,~ __·"·""·"·"~···· .. ,·,··"·······_.-_·_~·_·_·_··· ___·· ...... ~.m .-~-~ ••• ---.''"-"""."".. ".f~-.'''''''--~.'"'"'''"'"'"'.,.-~--_. __•..... ".,, __•__ .... ···· .. ·.,· ... "., .. ".''''"' .. ,·'· __ ·~rin'''.'''m_ ....• ...... _~.~""" •• · ....···.~.,. ___..... "'m_~ i K t V' C (U S A) I' "The Spot an Angel Deigned to Grace" - Loch Katrinv, '27 XM3 MS A096 , eys one lew ompany .. Scotland I x~~; :~!:+~:~:::::~:.:~~::::~ ;~'~~~= ::.= :~=-=r~¥~:~~~~~![f~~;~~~~;~ ~~inc;':e:.- ~ •• ~~ M3 MS A 102 i ...... -'-'.. .. --" .. "." .. " ...... -...... ~~ .. ' ...... "...... __ .~ ...... ___ .... __ "_ ...... "., ...... ,, ..... K..... _...... ".. -..... - ... - ...... - ...... -.~ ...... "...... "[, ...... _",, ...... ,... -......

(Duplicate) I ~eystone V,ew Company (U.s.A) j The Valley of the Tay, Scotland . 33 N~" r ~i ~ _. ~ ______~ _ _ ....." •. ____,...... ~~ ...... _._ .. ~w~~_~~,~~ __ .l" .. _, ... _~ __~ ~_ .. _._, __ ._~_ .•. "... ,~ ..... ~ __ .... _... __.~,~~~ ...... _~~ .. ___~ ... ~ ___.. ______• ____ ~_ .. _""_,,_ .. _, ___ ...; I-~~~;:~~~t~:~!;:::~:~~:::~~~~~~---··-r!~:~t~!~~~:::~:::;;:~o~~~~;·ELi!!-·l ...... ·t .. ·· .. ,·· .... ·• .. ··· .. "·· .. ··", "...... ~ ...... "...... "' ...... ,...... - .... --...... -.--...... - ...... +...... -...... "g... g...... ,...... ~ .. ~.g.-...... -.-...... ·.... --···· .. -t.. -··-...... ··-----; XM3 MS A102 I Ke stone View Com an (U.S.A) I Outlook Northeast from Castle, Scene o~~eroic I 33 I l...... J ...... ~.,- ...... "...... ~ ..... ~,., ..... "...... ,__ .. ,... _.. __ .. __ ,. __ ...... +g!:.1;!ggll:?~L!Q.th~J:Y"~II~~!! ...MQ"r.!p!!1~I.!~! St!!l!r.!g,?~9!IClnC:L .. ;_,, __._ .. _J f· ~~}~~~l~i+ .. ~:y~i~~:·~{:: ~~: p:~y (tl:~:~l-...... ·---·--·-.. ·~ .... -~" .. t.. f·~i gf~ ~~'~it :~:~g~~ ~Hm~g:~~~~!~~1- -.. ---...... ----H~ .. ,·~-.. ·,,1 .. ·"·"""""1 f"· .... ············~·· .... ····" .... -.. ,.. '·····r·············y.· ...... -...... P...... ·y.( .... ·.. J.. ······ ..·· .. ~--" .. """·--~ .. ·-~ ...... ;···-- ..... """·" .. 7 ...... K...... --;-.. ".. K ..... "...... ,,'·"··"'·'-...... ·.. -···-...... ·· .... - .. ·..r .. '·' .. -~ .. ·· .. j XM3 MS A103 ! St h & W (N Y k NY) I Edmburgh s Popular SeaSIde Resort, Porto bello, I 34 I 1 i ro meyer yman ew or, .. Scotland ! i 1 .... ·...... _··.. · .. ·...... ·,· .. ··· .. t...... · .. ·.. ·.. ·...... · .. · .. ·· ...... ··, ...... "···,,,·· ...... _.. _...... "- .. ", .. ,, ...... --.... _ ... ,,_ ...... - .... _.. -...l ... ,,-.-...... -.. -..... - ...... -...... --.---.. -..... -... -- .. ~.---.-.... ---.... - .... -...... -- ....1.- ..... - ...... --: 1.. ~~.. ~.~.~~!Q~ .. ~~~r:oh!n~yl:?r:~ ..Wy!!l .. ~!:I.(t'!~.!YJ_C? .. ~!..N·X~1 ",.,, __ 1G~ .. orgt:~..s...§g11,~E~~,,,(ilil~gow, Scotland I 34 , i i XM3 MS A104 ! The Fine-Art Photographers' Publishing Co. I D . . H' hI d FI" H I b h S tl d I (London, S.W.) . ancmg m Ig an mg, e ens urg , co an , ; .... """""... - ... ~.""""' .. ,t-...... _-,,,.. ,,,,,,, ... _.-.. -_... _,,...... ,,,,._,.,,...... - ...... ,,,, .. ,, .. ,,,,,,,,'''''''''_·· __...... ·--t-·_'', ..· .. ,,· ...·--_ ...... ··· ... ·- """"" ... -..... --.. ~ ..... -"'''''''-~-.... - .. "-...... " ...... --...+.- ... -.,, ...... -. I Highlanders in native Costume at the Great Forth I ' XM3 MS A10S I Keystone View Company (U.S.A) I Bridge, One and One-Half Miles Long. Spanning the I 36 I t.R~IH..s'AIQ~.:tRiy~!Q~~~yle~,,~~~p~-.~y~iTI~~~~j==:==:=.~:~~:~:::i~~W~~i~~~~:~~;~:.~i.hr&~~i~~~\~~j~~O!!~('t~._~=~~~::=j~I~:~:::~=~..-.J

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[~~~~~r~~~~¥~~~:tl::{f:p:~&~¥~====t!\f~~;~~~i~4ff~~g,~!~d-~t!-~y !-·,·---·----·.. ·t.. --· ···,·-·,-··..·· P._._y.... L ___ ~ __ ._ --t------.g- --... --- . I .. - ; I x~~ ~:e~::: i Keystone View Company (U.s.A] I Ellen's Isle, Loch Katrine, Scotland i 38. I i-·· .. ·- ( p P ... ,..... , ...... ,-"...... ,', .... , ,.... ··, .. ·.. _ ...... ·-.._·· .. • ...... • .... ,.. • ...... ·-· .. · ...... • .. _·1'-·------.. --...... ---.-.. -.... -...... --.-.. -.... ,--.-~----.--, ...... -... --!--."-...... --.~ : XM3MSAI07 1 ! .. i i Du lieate) I Keystone View Company (U.S.A) , I The Valley o/the Tay, Scotland I 38 I 1-~:3 ~; ~ ;ri;p(~ystonev;ew Compa;;y[U:SAj;C;;py;;ght-~-s;rwalterScott'SLibra;y.p-Ortrait of LiWt:Scott. so.; l-39---1 L, ...... _..... _... __ ,..... +J})}q~_~Q.Q~L§tJl.!lQ~!}:\lg_QQ Pl!hJi!ih~rs I of t~e.l~Q.etL Abbot~fQ!d, Scotland I-~

! XM3 MS A108 I K t V' C (U S A) I Princes Street and Waverly Gardens, Edinburgh, I 39 'II I ! eys one lew ompany " I Scotland 'i! ~G, ..~_ .... _<, .... ~.".~m __ ··~_····~,·,···~,~".. "'''·t.·.····"~~ ... ""~,_._.~.""'''~.,«" .. ~~''''~.'" ..... ____ ... ~. __ .... _"~'" ... ,.~-.... """--'_. ___,._~"""._ .. __"... "."."." .. ___,_.~,fl_-."_~" ...... -t-<----~~-...... ,~' .. '... ----~ .. ~ ...... ,-"""'".-.".... ".""' .... ~, .. ~""_"m" _____" .. "" _~ ..... ~_~.~""_~_.~., ___.. ~ ... _,_"' ___..... ,.~ .. --+--__." .. "...... __.... ! ,

11 XM3 MSA108 i K IT' C (USA) ! H' . S . T' CIS I d I 39 ! i Du licateJ ! eystone vIew ompany .. I IstOrle tlr Iny ast e, cot an I 1-,"_.,," .. P ...... ,L"-~-, ... "-"" ... -...... -...... -...... "".-,--...., ...... , .. ,-... ".""".-.., ...... ,-...... "" ...... , ..... --"-, ..... "'-,.. "" ... ".... _ .. -.. ,, ... ,," ... "--"I""""-"'-''''"--''-''''''''~''-'''''--''''-'''''''''''' -----,-..- .. -.---.. " ...... ,.. I XM3 MS A108 i Keystone View Company (U.S.A~; Copyright j ~he~e the Forth "in tur~i~gs intricate through these L/_".,,, .. __ ,,_ .. _."." __ 1_J1I}Q~~Q.QQ~!!!lQ€!~Q.Q_Q,p.,l:!QJI~h~r~_' .. -...... -.-.. ~-.... "".- ... l'.... T~~E. flt:lQ~p~!h."~l!!!:_:"'~,~!,!"!!!lg~",~EQ,!!<.l..nJL,_, .. _, .. _--,-...... -- l- XM 3 MS_I'\J ()81J{~ yst()n e Vi ewCom pan y (ll :~~A 1,"",.,_...... ,..... _'"" .. ".... __ __ ... ___ ...J:'.Q.~hI.:Q!l}g_l!QhyJ'1,Q..~.fl..Iigh!!~f2!!~!l~:L ____ ... ____...... __._ 1:X~. 3~.? A.. ~Q?,j .. I5~yst() 11 e yiey.r ,Go m pan y_ (lJ.'~ :1'\)___, .. _,___,_ ... ____ ... L'~y'~l3,af'l~~_an ~J~T~~~2:,I3,..2!!I1J~"R_29!!:!..S.Eg!J~.!!~___ ... __L~,=- __ ... _.. _i I XM3 MS A108 'II K t V' C (U S A) ! "We'll take a cup 0' kindness yet For auld lang syne", A Ii 39 I : ! eys one lew ompany , . , I Hi hland Home, Scotland I I

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Katrine from Gardens ofStonachlacher,

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XM3 MS Al23 Universal View Company Published. by William H. Katrine's Bosom , The Fairest of Scotland's Lakes

XM3 MS Al23 Inversnaid Falls. Loch Lomond, Scotland

XM3 MS Al23 Universal View Company / Published by William ~. On Katrine's Bosom, The Fairest ofScotland's Lakes 54 (Duplicate) Rau...... XM3 MS Al23 Universal View Company / Published by William H. Loch Katrine from Gardens ofStonachlacher, 54

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1 XM3MSA135 lJF.J 'IUd d&Ud dPbl'h CIS I d 166 . I Du licatel I" arvls n erwoo . n erwoo u IS ers is! ter!ng /' ast e, cot an I, ,..._ ...... G ... Pv ...... ~-... _ ...... -... -...... -...... - ...... -... -...... - .. -.. -...... _...... _...... _... _...... _. ... r .... ~-...... --...... - ... - ...... ·...... ,...... ~_ ...... _...... _._...... ~ ...... !...... - ...... - ...... , . X~! ~::,:;:, ! J.F.Jarvis/ Underwood & Underwood Publishers ! Drummond Castle, Perthshire, Scotland 166 ...... C...... p ...... P...... , ...... _...... _ ...... _._.... _._•. _...... _ ...... _~ ...... _.. _...... _, .... _ ...... ,...... __...... _...... _.... __ ._...... _...... _._...... _...... __...... _...... , XM3 MS A142 i H.C. White Co. ! SLOCt~ K~rine and Rhoderick Dhu's Watch-tower, I 73 . ,i .! an , " ... r ...... -...... ;..... co...... -...... -...... m ...... -...... -...... • ...... • ·-T-· .. ·... . i i i I I"" XM3...... _...... MS A142 ...... '1' .•...... H.C. -...... White Co...... - .... -...... _-...... -...... - ...... --...... -,..• _The... - ...... Islands, _Loch .... - ...... - Lommond,...... - ...... -...... - ...... Scotland _ •._ ...... ·-.... ··• .. ··---.... • .. ··········_-...... ·.,.... ·.. r ....73· .. ······- ....· .. ·.. ·_· .... 1. i XM3 MS A142 l H.C. \AJhite Co. I A Vista t~rough the For~h B,ridge, Scotland (2765 yds. I 73 I _.. < ... _... _ ...... _ ...... _~...... _ ... _...... __ ...... ____ .... ___ .. _ .. _. __ .. _.. _... _._.____ +.~Q..llg!!!!'.l1!'!.tllb.«:~J_2 f~ .. !!!...t:i.!.<.!~.. ~~r..~l._ ... _... ___ ... ~ --.... -1------_~ I XM3MSA142 I H.C.WhiteCo. i H~lyrood.Palace,oncetheresidenceoftheScottish 173 I [ ... -.--.-...... - ...... --- ...... - ... 1...... --.:...... - ... - ...... - ... - ...... - ...... --...... --...... - ...... - .....--.--_. __... __._lKI!lg~!J~:.t:i~T!!?!!Egh, .... S.c:_Q!la ..ll!:t .... _. ___.. __ . ___ .. __.. ~, __-..J I XM3 MS A142 I H.C. White Co,: I sEdintlburdgh Castle from the Grass Market, Edinburgh, I 73 , I i I i , .... ····_·_·_··.. ····· .. ·...... ···-·_· .. · .. ·· .. ·t.... ·_···.. ···· .. ·_._...... - ...... , ...... - ..... -_...... , ...... --...... - .. -----•. -.,.. - ...... --..... -.-•...... co -..... ~- an...... ---.. -...... - ...... -.-...... -- ...... -.---.. - ..-- ...... - ...... - ...... -...... --1'- ..... -..... - ...... - ..I I XM3 MS A142 I H.C. White Co. ! The g~eat Fort~ Bridge, one and a halfmiIes long, ! 73 I ~-.. ., ..... --..... -...... -.. -.-... ---.+ ...... -... -...... -.. _...... -... -_ ..,.- ... -...... _._ .. __ .. ______.. __ ...... __ ...... __ .J.~P~.ll_ll!...n.g!h~... f.!T!.h .. QL~9rth,.... ?fgn'.l1!.9._, ... -, .. __ ._, ...... __ .. -...... I...... -...... - ...... j i XM3 MS A142 i H,C, White Co. ! Trossachs Pier, Loch Katrine, Scotland i 73 ! f.. ·... -····-·· .. ··· .. ··-...... · .. · .... ·.. _-.. ·... ···_ .. t .. ····· ... ·· .... ·.... - ...... - ... --...... - ... ---.• -.--... -•• - .. - .. - ...... -.--.! ...... --...... - ...... , ...... -...... __.- ...... - ...... -.. ··· .... _...... - .. ······· .. ·.. ·.... ·.. ··-··- .. -.. ·...... t.. - ...... -...... ·...... j

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[De'il's] Mill. Rumbling Bridge, Scotland 86

The [De'i/'s} Mill. Rumbling Bridge, Scotland B6

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XM3 MS A155 Excelsior Stereoscopic Tours / M.E. Wright Publishers The [De'i/'s} Mill. Rumbling Bridge, Scotland

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i...... (Duplicate) "._ .... !.. "UIJ de/'1ll,lqod~Jlp"iLe..l}YQf2cf..Et!b,{is.hf!r..s. ... ___ ,,_,, __._ .. ,,_ ... J,q!"aqe. II - ••_ ..•• --".""" "'...... "--_."._",, ...... ",,---_. __.... " ___._ ...... ",,__ .• 1._. __ ,,.,,_ .... _. -li ,. 1 I ! XM3 M~ A161 i Strohmeyer & Wyman (New Yor:k, N. Y.)/ Sold by ! Princess Street Edinbur h Scotland I 92 ' L "[D up IIca tel ..J ... Un de ryvoQcJ .Efl .. C!T1. c!~QY...()od ~lllJJ!s.~ er§"..".""._._..."."+..._... "_"".,_""" ... "_.".'.._._.,,,, .. ,,.~ .. ~""". __ .... "__ .... "_""_"....""" .. "_,,_,,,,,,_,,,_,,_J.,,_,,_,, .. ". ___ ".",.j i XM3 M~ A167 ! Strohmeyer & Wyman (New Yor:k, N, Y.)/ Sold by I Princess Street, Edinbur h Scot/and I 98 ! I.. " .. """ (CJl'pllcq teL_+u.flcf..f!~l.1(QQiLEflU.'J.. d e..'lYJ!..gcf..E.t!P.l..I"~h.f!rs.._ ...... ", ...... "", ..... """ .. ,, .... ,, __ .. _""""""""I"''''_''''' ___''''''''''''''''''''''' __ '''''''''''''''''''_''_~'''''~ __''_ ...... ---._" ... "...... "'...... "...... ".. -"--\-.. "...... "".,, .. -- ...... ", .. j I XM3 MS A167 I Strohmeyer & Wyman (New York, N, Y.) / Sold by i P , St t, Ed' b h S tl d I 98 I i (JJu Licate) I Underwood & Underwood Publishers ! nncess ree In urg , co an i i ,..... ". P v".• "._;"" .... "". "."." ...... " ...... " .... """".""... ,,-""""--_... "'''-,,_._.,, "---_._-"-,,,,._"""---,,-,,+_...... "_ "______~_ ...... ___,, .. + __._ .... __.! I XM3 MS A167 i U d d & U d d P bl' h I Holyrood Palace, old home of ill-fated Mary, Queen of i 98 i ! (JJu licate) I n erwoo n erwoo U IS ers i Scots _ Edinbur h, Scotland I, I... " ...... /.? ". p...... L... " ... " .•. _"•• """..... " .. """...... "...... "" ...... "...... """...... "".... ""... _""."...•. """...... " .. " .. "'.... ".,,"",,___ ...... _"".. """"." ...... " .. _ .. "._"1"".. "..... "__ ."._ .. ".. _._",,,,,.... ,,.'9 .. ,, .. _ ...... "...... "_"."""" __ ,, .. ___ "' ...... ,," ___,, ..... __...... ,,,,_,,_ ... """,._ .... _"" .. "..... ""."

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i XM3 MS A167 I Strohmeyer & Wyman (New York, N.Y.) / Sold by I Th B' th I fR b t BAS tl d II 98 !.. . i.. U n d erwoo d & U n d erwoo d Pu bl'IS h ers :' e Ir pace 0 0 er urns, yr, co an , . t,·'~'--,.-·······---···-.. -'--·-'·-"--·~~··~·······-·· .. ·~ ... ~~ ...... ,..., .. ·,."·.~ .. ,,·~·····',. ... m~~ ___ ··,· .... , .. ·" .. _"'··•••••• '"' ••••••• ",." ....,,, ..- .. -... ~,-...... ,-,--~ ...... ".~--.-." ••• ---."'-..---.---- •• ~' ..'-t--- ...... ----~-~.,.~.'------." ... -~., ...... "'------... ~".""~"~ .....,.-- ...... " .. ,..... -.. M_ .. ~_M ..... ·~'·······'''"~ .. _···o<'''' .... ~_t····#· __······""'~"······,i I XM3 MS A168 I George Washington Wilson / Sold by James Miller. I Ob A 1 h' I 99 I i Bookseller ! an. rgy es Ire I .. f---.-- .. --_"...... n._.... ~ ...... ~.-----"'~,.-.' .... ~-... '.-.--.. -_«~ .. """.""._"" __ .... N.•.. ~_,_~ ..... ~. __... _..... ~ ...... ,,_,._. __ .....,._"'_,.~._ ... ·.. _'n."'.'~· ...... ~"'"·"'" ...... "_#.... n .... "# ....,...... , ...... ~_..--.-N~ ...... _~ .. ~ .. _._...... ~ __.~_~ ____.. ~ ...... ~,.,. .... - .• ---."".~'" .. ~ ..-- ... - ... "~.---.-----..... - ... ---...... _._-"'", -.---i""""...... --.. ----.-...... I XM3 MS A168 I ~~~~~:I~:shington Wilson / Sold by James Miller, I The Clamshell Cave. Staffa I 99 .. t·· ·7 .... ·.... -...... j...... --.... " ...... - ...... _ ...... __...... ---...... +_ ...... _...... __ ...... __ .. _..... __.. - .... -..... -...... _.... __ .. __ ...... - .. _ ...... _-.- .. -._ ...... -... I 'XM3 MS A168 I George Washington Wilson (Aberdeen) / Sold by I P fK'll' k' I k' t d B - - I I 99 I i James Miller, Bookseller lass 0 I lecran Ie, 00 mg owar s en y g oe I ;...... - ...... , ...... ,', ...... ,...... ~ ...... --, ..... - .... --.... - ... ~ ..... '.'- ...... - ...... -. __ ...... ,.. __...... -...... _. __.. - ... -,_ ...... _.. __...... --+...... ·... ·.... ··· ..... ~ .... ·i _~M 3..... M?_~!£~ .. j ...G~QEg~ .. yv (I~h~_l}g~2!:1_yyj..!~2_l}_1~l.?.~E~~enl. .... ___._. __ F~Jle f..~g .. g!I9..Yer~}.. n ve!'..~~.:~!!iE~ .~._ .... _ .... ___ ...... _ ...... _ .. 199 "'M.3. .... M?/~l~.? ... Lg~g.rg.~.. '!:!<,l.~.~.i!lg~g!l .. '!:!!!§gn..c~~.~!:~~~!lJ __~ ..... __"" .... __.J .. Th~ ... I!:.o.~.~~h~.~_I::Igtel_'!!!,,~.. 1!~.!!.y.~.!l.1:l.{:'! __~ .... __ ...... _ ...... _ ...... j' ~~~ ~~··~~·~·~·-l·~~·~~g: ~:~~:~g~~~*i}~~~(1~~·~·~~:~)--"· .. --- ... ··' .... - ..+ ~~:-~~~~~i!h~~~s~~d:strine -.. -·----·.. ---·1 99 ' !...... - .... I .. ·· g ...... g...... _...... c ...... -...... ·...... ·J·--- ...· ... ·· .. ·,,· ...... ·... ·.... ·· ...... ,,· ...... ·· ... r-···· ...... · ...... ,.. ,," ...... --... -...... _.-.-...... --_.... _-._ .. ,,_.-_ ...... _" ...... -.. -." ...... --.. -_ ... --._ ... +---...... -.. -- ... --.. ~ ! XM3 MS A168 I G W h' t W'l (Ab d ) I' Invercauld House, Braemar - From the "Lion's-Face" ! 99 I I eorge as mg on I son er een R k i i I1- .. · .. ·- .. ··• .. ·.. ···•·· .... ···· .. ···-.... - .. 1,,···...... ··-.... ·.... ·· ...... _-" .. --- ...... _-.. _...... _...... _...... -.... _--..... ,,-...... _---... ---·r·· ..· ..· Q·£ ...... · .... _..·- .. -· .. _.... · .. ·...... _.. _..· .... _.. ·_-····· .. --.... ----...... - .. --.. -...... -...... -...... ,...... -.... -...... -1 ...... --...... -...... ;

I XM3 MS A168 II George Washington Wilson (Aberdeen) / Sold by It' f F' }' C I k' t d I I 99 i ! I James Miller. Bookseller . n enor 0 mga save, 00 mg owar s ona I I 1.)M~~,~S.!\~~~~~rG·~Q.!i~~W~ihl~g!;;.. ri~! ..I~Qri::cAk.-~i.4:~~Ql_ ... -=~-==1 I n~h~~~~iq!_iE~:!iQs.i~~hi~.=-_~== .. ===~~.. - .. ~~~.. ~::~T..2 .. 2·=:~=] . XM3 MS A168 I George Washington Wilson (Aberdeen) / Sold by,' I C th dId St M t' , C I 99 ! , i James Miller. Bookseller , ona a e ra an . ar In s ross I I 1.. _ ...... · ...... ·... _ .. ·...... ·...... ;. ... · .... --...... -...... _ ...... -...... " ...... ,._ ...... _.. ,.-...... _ ...... _ ...... _.-...... - .... ,...... ----...... - .. "... --.,...... - ...... -_ .... _ .• _ ...... -, ...... _,,, .... _ ...... _ ... ,._..... _...... -...... j XM.3... M.S A168 .. LGeorge.Washingto.n w..ils()I1(Aberdee.I11 .. ".." ...... 1~iE'!:!alter Scott's Monul!l.. ~I1t,~~UI111~rgh .."_""...... _ ..122 .. "...... ! XM3 MS A168 .LGeorge Washington WilsoI1(Abt!r..

65 .. ---l \ [X~{3.,... EIA!~~~~-lrG~"q~g~~W~~~.3~"g~q~~-~iis-q .. Il{A~EE,~c.I.~.~.I!l_ ... _____. -----.rl _~~... ~ne byresfalls, '?_I!..!!teQ~___ .. ______.. _,, ____ -.---L??.. ,,--.. ,,~ ! XM3 MS A168 '. I !

1~-~~r-lli1i·irti;~~~i~;;~if;~;ii!~L---~-t~~~:~;i;;f~;;;:;::;;~;.~=~---r~--~'''---...... ''''-."---.... -...... -." ... ~...... g.-- .. ,,.''''''''" ..." ..... _g ...... _"" .. ".""""."""_"" ..... {__ .. __ """ .. _... ""J. ___ ,, .. -...... ".-.--.--,-... "" .. "" ... "... ".... ,-" ... ", .... """ ...... ""."""" ..... ".. "...... g""" ... _." .." ...... """--...... _-" ... _."" ..... ,, ...... --" .. "-..." ... """"""" ...... -t,,--" .... """"--.. """".~ ~~~"~"~",,A.~.. §?_Lg.~,qEgE!,,yy~,,~.h.il!g~Q~j'y..i)~oI.!.{~b~E..~~~!lL""" .. "." __".,,_,, .. ~~~l!t.~.. _Cl.!!.~~ .. ~~!he~E,,~L~!.J,,9,,!t.~I.:qm !.~.. ~~!:!.h"yy~.~!.""-- .... t-,,?~- .. ""-,,-.. J f·~··gtl~~~~1i~~:.-~J{:~~~!~:,,~;!~I~!i~~,~H~~~I~~:i~!:,,~}= .... ~~==~."~.. ~~·~=t~h~QW'~;~i·h~!'&~~a.n~~!~=~:~~" ..... ==,,="~~.::=:=~"~=~.:" ...... :=_::~~J,,~.. ~~=:,,:"~:~~j L"XM3"M S A 168 .. lgeQrge Washington Wil~QI1JAb.erd~~l!L_" .. __ """"_ .. _"".U~~?£~!i~!l.,.,~.ri.c.I.g~,_C;"a.!!..a.,!t.,c.I.~.~.. -- ..... "--"" .. "----.",,--..--,,--t,,,,??.,,.- .... J ~~m!mi±~1~1~1;~i~;I~~~~J~~~~-~=~ii~:~~~~.. ~~Jr~~ L~M ~"_~~~}&~,, Jgeg~ge Washington Wilson. (Ab.~T~~.~.!IL"' .. _____ "" ..... J.. E as~"~L~m!t:"<::.~~~~!I:?, .. J()_()~iJ:t!t.':lp,,. ___ .,,._~ ___ ... ____ .. ____ "J_~...?__ ... __ ._ .. J I X~! ~:~::t I George Washington Wilson (Aberdeen) I Pass of Killiecrankie, looking towards Ben-y-gloe 1 99 I r-·· .. - (~ IJ ...... ,,", ... ,... -" ..... -.... _.. "...... ' -" ... ,.... ,., ...... ,"" .. ,.. ".., ... -."" ...... "" .... '-,.. , .., ..... ···· .. ·· ....· .. ·-· .... ·· ... "" .. ,,-'--.. -----,··.. ".. ·-----r-... -"--...... ".-...... ".. -...... -----.. ------... --""" ... ------.-""" ...... !.--'-'--' ...... ·1 ~ ... XM 3 M SA~,,~~ ... ..lJ~,,~grge,,~!'Is..h iI1g~9I1 .. ~.. Hs.9.I1(Ab. ... ~ ..~d(;~!ll._ .. _" ... _" ... _" .. _._l-,,~..Qch "~a.!r.!!1~~I1~.I.3.~!l,,y.~.n l!~_. ____ ,, __.. ,,_ .... _"._"" .... ". __ ". ..J~.9 _ !

r~!!~ffi!ffl1~~f!!r!!!ij!!~!~lt~~;~~~~~jt:j, ... '''''-'''r g.. g".. ".. "(." __ ...1 .. _""."" .. _...... ,, ..... 1""""" ..... ___"' .... ,)'...... , .... ,_.,,...... ___ ,,_...... " ...... """ ...... -.-" .. - .. _-_...... "" ...... - ..-" .. ---r""··········,,·-,,----I 1 .. ;I'-~}_..M?"A!~"8,,, Ge()rge WashJngt()I1yy~!~()_I!(A..ber..c.I...eel!L"" .. _. ___,, __+ Bri.~g~,,()L!h~.~~r.r.y-= __p~~:s._qf KiIliecrankie ,,----""--fJl..2 .. ,,---l I X~! ~:c~::: I George Washington W~/son (Aberdeen) I Pass of Killiecrankie, lookng up 1!9 ! t /;'13 ~S A16§l-Goerg~ Washi;;-gton-Wi1soncAbe,de~-"L=-=:~.-= ~ri_cjd;Ql'.lilin;'i'ho!nhiif: _____ ======-:-J9'L-:::- =1 !-}~~~J!~l-l~::;:::::;~::~::~:onn(~!~l--- --t::::;:r~;::~:~:;~:;s~-... ,,-- .. ------" 1--;;. -- ! I ~ p , ." ... i···.. '" ... -""." .. - ..... _ ...... _"" ... -.. """ ..... - .... ".. ,...... """-.,,''''' ...... "...... -r-'''' ...... --, ...... "...... -...... ----...... " ..... - ...... ",,, ..... ----,,-.-,,... ,,- ·_ ..... _.. """,, ..· ... 1___ .. _ .. __ ····1 r"~~~~~-1}~~... "·l,,~~~~g;~:~~l~gi·~·~·~t}~~~J~~~"~~~:~l······"···-"""--- .. "··""·"·+¥h~t!~~e~~~~~B·orro;~i~i; .... "~"-·""---""""- .... "'·""""""""··---"---""-t ...~"'~ "''''''''''''" .. ,,--1 L~~B~~:~E$":~!~~J~..i!ri~~~()";;~ ... _:~_"' ..~_.:.: .... -.,~==~~:~:··:·:~=_.:::~=.~:,,~ .. ·::~·=":=:·~.. ~ .."'::~:]jfd~~.q~r .. :~~ .. =:· .... "= .. ==.~: .... :.·.=~~==~= ... ==·= .. :~=~ ... ·· .. _i ...~,,~=:":.~!

IT"- ___ ~~"_._'''''"''_~ ____ . __._._ .... ____ •__ ...... ___• __ . ·., ___ .,~_"_d·. ______... __ ~_ .. ""~.~ .. _, r~~~Mf~,~:~"l.~_~,,~ll.~~'~Qi~y=(~~~~t~~j=~-==,,=~-=-_~. _,,_~,, __ --+ Boat House, Loch K~_~~!ne 11Q_0_~ "~~~"'~~'~"f~l"+ij~t:J~~,!?I!~-~i~g,~Q_.-'--'--''''''''-''''''~---'-''-----''''--'-'-i-~'';~1:ri'~ove ----'--''-''''''----''''----'''------'''-'--''-'--''------'1"-}~,~--,-i ,-,," ,,-""--"""""""""-'"'''' '"''''''-+'''''''''--'''-,-'''''''''''",,-'''----,----'''''''"---,,-,,-''''-,,'',----,,-,,----'''----, ,------,--,---,.. ,,--,-""---,----- "'---""---'i-""",,,,---J ,J{M3._M$~!~~,_~!J.~J~pg!Y..l'l, ____ "'_ Unknown i 100 I t-~~~-~~-~{~~-ljj~~~~-:~-'''-'''-,,-''''''-,-'''''''-'''''---,-- ~~I~~:~PlY!Qg~___ I ~66 1::'~RM~:=~s~~I~9.J'-iJii~~9.:~,~~~==,=~=~_~=:~=~=-_==_===_"_" __ ,rJie~,,g..!1_,~,h,~,?!'!..nJs~(?L!h,~iJP..<.,""""",_"___ ""_"_""""",,,,,,,_,, .," ___",,',,' ,_, ,,,_,_,,,,,,,_,_.,,,,__ ,,,,,,,_,,,,,,,,,,,,,,,,,,,_,,,,,,,,,,,,,,_"_'''''''''_'''',,_+'''''''"'''''''_'''_'''' __ '''''' __'''''''' __''''''''''''''''''''''''''''_'''_,_'''''''''',--"""'--"'-""""'-,"'"'''',,'--''''',,',,,-''''--,,'''',,''-''' """"-""""""~+"'''''''''''---"-,, """"! I'~~ ; .. ~~ ~ i:: "·1- ~'£~~~n(Ki nross) ..... -" ·····_"""'''''''': __ ''''''_'''''"''''_",, __ I_f~!~~~t:t~:~~~m blingJ?~i~"gC!'"Q~_~h"~"J?T?an,D,,~l1~C!Jg,,,, __ ,,+i~~-,,"'l 1~~M"~:,~?Al

XM3 MS A169 1 W. Woodward Matlock Bath, from Comford Heights I 100 !

" . f~f!~m!!~~j==~~~~J!~:ji~;~I:~i~~~-~~u __ lJ{~~,.M~~J§9,_~ .. !!~kno"Y~,,~ ______~ ___ +IEllenls Isle! Loch Katrine, Scotland] ±'100 I ~M 3-.M$!'>J§9.,,. .. t-ll~~!!.o.~,r.!-.--.-.-.. -...... ---.. -,...... -.... "" ___'''_ .LOEh. Ach.!~Y.. ~.r.!~,..~.~!1."y'~.!.!ue_ ...... _,. ______,.._,.,...... _,._,._,._ .. _ 1.99,._.. ,.1 ! XM3MSA169 . U k 'L hA h dB 11 1 100 I i (Duplicate) i n nown .... oc C ray an en venue I I L~M3 M_$ .. ~!~9"'T!I~~~Q~~:=::=:._~.=:~==~~~:'~==~===--=_. __. __ . __ . _,._ l~j!?y o·f~~Eh. K~~,.r..i.!l~!j~2!1,,~~t-"-''-:~===~=~~'-1-1 JQ.O ~'.=]

11 XM3 MS A173 II' Berry, Kelly & Chadwick Publishers (Philadelphia) rGlimpsehofpEllenss Isle) andd Loch Katrine from old 104 ,. . rossac s ass, cot an j ...... ,. .. _._...... ,.,._.... _.,.... ,..1._. __..... _ .. ,.,..",...... , •• _ ...... - ...... - ...... - ...... -.-.... --...... - ... --.--.-...... -.--.-. .-...... ------,...... _-._.. i - ~:~~k~H±~~~~~~li~%~;;~ti~-~~~~~~:~ ?~~~;~y~S~~Q!!~--.. ···· .. __~tl~~,.~ ... __ ,. ... ,. .. , XM3 MS A173 1 Underwood & Underwood Publishers Bridge - spanned river and fair green country about Ii.. Inverness, seen from Castle, Scotland " !...... ,. .. ,. .. ,. ... -,..... ". .. .. ·.. t···.. ·· .... · ..... -...... " ...... - .. " ...... ,...... ,...... - ...... - ... ----.".-"...... -...... ·...... ···-·-,.·r .... ·.... ·-..· .. ·.... ·...... ·...... ··-· ...... -- ... "" .... -.---...... -.-.-... - .... --.... --... ---+.---...... ---.. j I-~~: ~~ ~~j;:!:~:-:!!::~:!~~!~i::~~--- T~~=:~J~~~~~ht=~O~~~dboats--L~!:1 1-- - .. ,...... - . -.. ------~------.-.--.+--.~------.-.~.-.. ---!1 ... x__ .--.--~-~------.----~--~-..... , 'I" XM3 MS A173 i U d d & U d d P bl' h I Scotch Herring, the best in the world - thousands of I 106 I i n erwoo n erwoo u IS ers I ke s read to shi - Wick, Scotland I I ,... "...... ",...... •.. _...... - ...... ----- .... - ..... ---...... " ..... - ...... -;-...... g ...... ,,_ ...... Y...... _ .... _... P__ ... _._ .... ,...... ,...... -...... -... - ..... --..... --.-.. -..... ,.... -_.... -r - ...... -...... , ! XM3 MS A173 IUd d & U d d P bl' h I Principal street of quaint old town in the Orkney 106· I I n erwoo n erwoo u IS ers I I d K' k II SId 'I I, I S an s - Ir wa , cot an I t.. ·---.. ~ ...... ·...... ·~i· .... '...... ,. ....· .. - .. ·'·'· ...... ·.. ·,.,. .. --..· ...... ---...... -... --.... --...... -~ ...... --- ...., ...... -.... -...... -.. -,...... -...... "... - ...... ; ...... ,,, .. ---...... ,...... ; ...... - ...... ~ ...... ,...... ~ .. ".. -.. ·-...... ,.,,· .. _...... ·_-· ...... · ...... '.. i I XM3 MS A173 I Underwood & Underwood publishers I ~:o~~a~~d the hills around ItS land-locked harbor, \106 I G~~~1~~1~~~~~~~d~~~r-.:-..-._~~~--_--=~~11~~:I~~PsaIongihe-m-~in··s-tre~~ .... ~lthr~f_'ty_ ....· .. _-.... ·r~-o~-] i XM3 MS A173 , Underwood & Underwood Publishers I Cosy Cottages on the I~Iand of lana, where Christianity 1106 I st L.""'._ ...... "__ .... _...... _ ...... ~ .... " ... --.l..... - ...... - ...... _ ...... _ ...... __ .. _ ...... __ .. ___ ...... _. __... _ ...... _--+-~as JIr: tra!l.?pJ~.. !:l .. ~E:!~LI.r.!~2 .. ~(;2!1!!I:.. c!__ J--...... _J l~~ii}~~~=ii~~~~i~~~i~~i~~:~~-== -~~h~~~;~;i~~~~~~t:~~~ontE~_-t~:~

'"/' ~--...... --,,------_.. _-_ .. - .. _.... " ...... _..... _.... - ." " ..,,---_ .... ,------..... - , - l r \ , columnar cliffs of Scotland XM3 MS A173 Underwood & Underwood Publishers Strangely beautiful architecture of the rocky shore of 106