1856y Pilkinton and Son were in Dundas Street, spelled as Pilkinson in the street director. T Davies was at 14 South Saint Andrew Street. J A Bell 6 was at 9 York Place.

Frederick Thomas Pilkinton came 12th in the Second Class Honours for Mathematics under Professor Philip Kelland, and shared First Honours for Logic and Metaphysics under W Hamilton, Bart. (Caledonian Mercury, Sat. 10th May 1856)

Sam Bough, possibly Pilkington’s closest friend to be, moved to from Glasgow in this year, and stayed at 5 Malta Terrace in Stockbridge.

He travelled to London that year, and “visited an old acquaintance, John Philip”, whom he had first met in the company of James Cassie, both very close friends of William Brodie. Bough exchanged some of his works, which Philip admired, for a portrait by Philip of Bough.

Bough thought it “as large as life….”. “It’s very like me, and an awful bla’guard I look” (Hitchons)

In fact, the portrait establishes Bough’s commanding height and broad frame, and his handsome authority. He looks rather distinguished in fact.

Bough was a fascinatingly controversial figure, and continued to fascinate long after his death. As late as 1897, many years after hs death, The Evening Telegraph, in a piece taken from "Good Words" entitled " and His Friends", attempted to present the ambiguity of Bough's personality. "Sam Bough could be rude in both manner and speech, and his acquaintances were habituated to sarcasm and brusquerie. He had, in consequence, many friends but a multitude of enemies, who passed into currency many stories of his wild conduct. These have led others who only knew by hearsay one, and that the worst, side of his character, to invent many cruel and repulsive fictions about him and his ways. These may safely be discounted to the extent of about 90 per cent. Mr William M'Taggert RSA tells of a sketching excursion which he had with Bough. It lasted three days, during which they were hardly ever separate, either night or day. On starting Bough opened what proved a sustained flow of informing, high and often eloquent discourse. The natural gentleman had left his clown's mask at home, and the broad humourist was supplanted by the suggestive and brilliant conversationalist. They had done little more than reach Edinburgh when they were met by two or three of his boon companions and in an instant Bough was transformed. He knew what was expected of him, and he stepped down into the gutter and administered unto them" . (The Evening Telegraph, Tuesday Sept. 21st 1897)

Such was the character of a man Pilkington spent most of his working life for upwards of two decades.

1856 was the year in which Gowans’ father died, and William Gowans entry in Kelly's at Redhall changed to James Gowans. (KELLYS) Brodie moved house from the Dean to 4 Torphichen Street possibly to be closer to Gowans. (KELLYS)

Charles Cowan MP had moved to be close to James Cowan, and incidentally to Henderson, at 30 Royal Terrace. (KELLYS)

In 1856, the City of Edinburgh chose Baron Panmure, the Earl of Dalhousie as the receiver of its “freedom”.

Gowans meanwhile was active in establishing a new quarry on the noble Earl’s estate in Angus, at Carmyllie. Talking in 1881 he said; About twenty years ago "in connection with the Late Earl of Dalhousie and a friend, I made a railway from the main line to the quarry, which has had the effect of developing the trade to such an extent that, instead of the windmill and the old crane, there are now ten planing machines, besides stone cutting machines, moulding machines etc worked by seven steam engines, showing the extensive use which is made of that stone not only for paving but for steps, plats etc." (TBN, Nov 1881)

In the 1880s, this development was described thus. "The railway, (about 8 miles) constructed as private property by The Earl of Dalhousie, was sold in 1865 to the Scottish North Eastern, and passed with that railway to the Caledonian; it joins the Arbroath and Dundee Line at Elliott Junction, 3/4 mile south of Arbroath; skirts the beautiful Kelly Den, so interesting to geologists; goes thence up Elliott Water, to (the) quarries; it was formed and long used exclusively for conveying paving and other stones from these quarries. The quarries (are) the most extensive works in Forfarshire for what is known as "Arbroath Pavement" (produced) from level beds 18 inches thick (in) very large slabs (which) receive a beautiful polish. (There are a) draining tunnel which cost £3000, 6 steam engines, 14 powerful cranes. (The quarry produced) paving stones, cisterns, copes, balustrades, columns etc." The stone was exported "to all chief cities of Great Britain, to many parts of Continental Europe, to the USA and to Australia and other British colonies. (The quarries) belong to the Earl of Dalhousie, being worked under lease. (GROOME's)

Gowans was working on the Crieff Junction Railway, which should have opened in September of 1857 according to the Dundee Courier. They described it as being "in a dormant state...... " (Dundee Courier, 6th Feb 1856)

Obviously the disputes were resolved pretty quickly because the Crieff Junction Railway was opened in March, amidst the usual rejoicing. A long account in a Stirling paper includes mention of the Inspector's views of Gowans' work. "The government engineers, Colonel Wynd, went over the works on tuesday, the day before the opning, and after a most minute inspection, pronounce the line one of the best, if not the most solid and substantial one, he had ever exmined; in fact nothing could surpass the eulogium which he passed upon the respected contractor, Mr Gowans, for the manner in which he had executed the works." (Stirling Observer, 20th March 1856)

In June, Gowans was described as "Deputy-Chairman" of the Crieff Junction and was involved in the politics of railways and Crieff in particular. Mr Stewert, civil and railway engineer quoted Gowans in giving evidence before a Committee of the House of Commons on Denny Junction v Scottish Central and Edinburgh and Glasgow Railways. "He gave evidence also as to the desire of the same Caledonian or west route confederacy being anxious to push the work past Stirling by a branch to Doune and on to Crieff; and he was aware that parties were ready to fill up the gap from Methven to Crieff, completing a line of communication to the north without going over the Central. He founded his assertion as to the filling of the gap...... (from) what had been said to him by.....Mr Gowans. He had no doubt that there was a connection between the fact that the Chairman of the Denny Junction was also the Chairman of the Scottish Midland, which it was well know was an ally of the London and North Western...... He had no doubt of the intention of the Caledonian in putting forward the line, and he believed that if both bills were passed, neither would be made" (Glasgow Herald, 13th June 1856)

Meanwhile, Brodie was now recognised as one of the rising stars in Scottish Sculpture. The Scotsman provided a very positive assessment of his work in a longish article entitled “THE WORKS OF WILLIAM BRODIE, A.R.S.A., in which his being appreciated by Gibson and MacDonald is linked to his following Greek Classical ideals.

“From time to time we have had opportunity of noticing works from the chisel of Sir "William Brodie; but we doubt whether even our townsmen are fully aware of His merits and present position as a sculptor. With a very few years of study, Mr Brodie has risen, to recognised eminence. And his studio at this moment bears evidence alike of His genius and of the fact that. Already he begins to reap the harvest of fame that awaits him. Mir Brodie’s early works, medallions and statuettes, attracted the notice of a gentleman of our city, who, uniting liberality with wealth, enabled him to visit the schools of his art in Rome. (This must be a reference to James Buchanan, the whisky merchant).It was during the few months of his residence there that he produced his marble statue of Corinna exhibited last year in tile Royal Scottish Academy's Gallery. The merits of the work were readily recognised in Italy - Gibson and Macdonald, great names in sculpture, according to it hearty and just praise. Before the statue was exhibited here, it had found a purchaser in Mr Wilson of Banknock, and is now in his gallery. By the kind permission of Mr Wilson, a mould was taken from the statue, and a copy of the cast sent to the Crystal Palace at Sydenham . The committee in charge of the Fine Art Department of the Palace, in virtue of its merit, gave it a conspicuous position in the nave of the building an honour which will be best appreciated by these who know the scrupulous care exercised in the selection of places, and who also remember that it was the work of an artist previously unknown to fame. It is gratifying that , if scantily, is thus worthily represented in a collection containing the richest contributions of all countries and of all times. Many men who have risen to a high position as sculptors have been born and educated in Scotland; but our cold disregard of this noblest of arts, even in the metropolis, sent them in general to seek distinction and wealth in the warmer south. The circumstance that Mr Brodie's Corinna found a purchaser in the person of a Glasgow merchant indicates, we hope, the dawn of better days; and we are glad to know that at least three of the beautiful works of art at present in progress in Mr Brodie's studio are commissions received by him here. A commission from the Right Hon. Henry Labouchere has resulted in a statue of Hecamede—the Florence Nightingale of the Trojan war. This statue is to be executed in marble, and a cast of it will probably be shown in the rooms of the Academy. The Hecamede is a beautiful embodiment of love associated with wisdom in the form of " Arsinous' daughter, graced with golden hair," whom Homer represents as lending her beneficent aid to the wounded heroes on the Trojan battlefield The features, form, and attitude of the figure are finely expressive of tender sensibility and affectionate care; the drapery hangs in folds of faultless beauty, and the accessories are all in perfect taste, while its exquisite repose is perhaps the greatest charm of the statue. This is Mr Brodie’s second important work, and Mr Labouchere's commission may be regarded as an honourable testimony to the high merits of the sculptor, by one whose judgment and taste are admitted not only in England, but throughout France and Italy . Mr Brodie is also engaged on a statue of Aenone. This is the artist's latest, and perhaps his best production. The figure is nude, and has no aid whatever from any accessory. It belongs to a class of subjects frequently selected for works of high art, because they represent that mythical union of mortality with immortality, which the Greek poets adored in their ideal creations, and belief in the possibility of which formed so conspicuous a feature in Greek faith. Aenone, as the daughter of a River God, and gifted with the power of prophecy, though she foresaw the fatal issue of the Trojan war, and the faithlessness of the beautiful Paris. She so loved him that she became his wife. As a divine nymph, enjoying perennial youth, the artist has fitly represented her in the spring of life, in all the fullness of perfect beauty; her lovely features, however, shaded by the coming sorrow, the sad foregone conclusion of her love and happiness. Seldom beneath the touch of any modern artist has the clay assumed a more beautiful form than it has done in the figure of Aenone—the immortal nymph of Ida, the wife of Paris, whom Aphrodite promised "the most beautiful wife in Greece." Mr Brodie has emulated the highest Greek art in the spirit and treatment of this exquisite creation.

Another of the attractions of Mr,, Brodie's studio is the bust of Tennyson, to which we alluded lately . It has been recognised by these to whom the features of the poet are familiar, as a faithful and characteristic portraiture. The delineation may be said to be perfect. The lofty head, and finely large proportions of the face, express great intelligence and power, while traits of tenderness and placidity are marvellously blended with the rugged lines and deeply furrowed channels, which tell no less clearly than do .the 'pages of his works of a life passed in companionship with deep and earnest thought . .The bust; also possesses very high qualities as a mere work of art. The contour of the upper lip does not, indeed, express a state of actual motion, but it seems possible that motion may ensue. The muscles of the temple and the brow are also full of living power. So thoroughly has the artist made the clay appear the dwelling place of the spirit, that we .forget the substance as much as we do .when looking on a human face.

In the outer room of Mr Brodie's studio stand portrait busts of many of the eminent men of our city, some of whom are gone, while some are with us still: Jeffrey, Cockburn, Rutherford, Simpson, Mackenzie, &c. A rare fidelity characterises all these portraitures. If it be interesting, and instructive to know how great thoughts shape themselves in, the human lineaments, such faithfulness is surely, the great excellence of artistic representations of this class. In all these works, we notice, the same strong hand and delicate touch which gives that peculiar aspect of vitality to the bust of Tennyson, and they generally: manifest the simple and severe taste characteristic of the purest classic style.

Mr Brodie has yet to rear the pillar of his fame. It must be based upon his own genius and skill and, though "art is long and life is short”, we trust he will live to crown its capital with due enrichments and to receive at the hands of his fellow citizens and fellow countrymen appropriate honours and rewarding fame. (The Scotsman - Wednesday, 20th February 1856, page 3)

The Courant, quoted by The Journal said of the Tennyson "not as we had imagined him, dreamy, delicate and refined; but massive and powerful and almost rugged, with no claims to beauty" (The Aberdeen Journal, April 23rd 1856)

There is some mystery as to who it was who commissioned the bust. The Inverness Advertiser said that Brodie had returned from the Isle of Wight a few days ago with what seems to be an admirable clay model.....which has been commissioned by one of our Edinburgh merchants, a man of taste, and a great admirer of the poet. The bust in plaster will probably be sent to the RSA this year and it will doubtless excite a good deal of attention, for the likeness which Brodie has taken of the laureate is reall almost the only one in existence - at least the only one which gives a true idea of the poet's present appearance." (Kendal Mercury, Sat 26th January 1856) The Westmoreland Gazette, quoting The Scotsman, further states "The work is the result of a commission from a well-known and much esteemed citizen, whose admiration of the works of the poet prompted him to request Mr Tennyson to give sittings...... the nobly intellectual head and highly expressive countenance of the poet are treated by the sculptor in a very characteristic and classical style. (Westmoreland Gazette, sat 26th January 1856)

The same journal, again quoting The Courant talked of the bust of "the late Dr Richard J Mackenzie - will be viewed by many among us with mingled feelings of pride and regret - regret that his fair and promising career should have been so prematurely terminated, and his life of usefulness and energy cut short in its early vigour and prime; pride, that amidst circumstances of singular difficulty and hardship, he so nobly fulfilled the arduous duties that devolved upon him, that he gained respect, admiration and love from all with whom he came in contact; and that among the true and the brave, who are now mingled with the Crimean earth, there was none braver, truer nor more lamented than this young martyr of science." (ditto) The bust is now in the Royal College of Surgeons, Edinburgh; (email from [email protected] 2006)

It is interesting that immediately above the article headed "Mr Brodie's Busts", is a piece on Boride's close friend John Phillip under the banner "John Phillip - "Phillip of Spain"! This quotes from a Illustrated London News review of the "first rate" RA Exhibition. "But Phillip - Phillip of Spain - it is he who will sink all who are hung near him for character and colour" "He has been to Spain and drunk deeply of Murillo and Velasquez to good purpose" The "Communicator" then goes on to say "Some of us were wont long, long ago, when he had but little fame, to prophesy that his mastery among modern artists would yet be found out of this power of COLOUR; and we may now, ha[[ily, regard it as fulfilled. Mr Phillip has been honoured lately with sittings for the Portrait of Prince Albert which he expects to have in our Town Hall by the end of June " (The Aberdeen Journal, April 23rd 1856)

In this year Brodie exhibited at the RSA a Bust of Lord Cockburn, described as "Diploma Work" and so done from the life. (RSA) Cockburn had died that year, and so his bust would have attracted many interested admirers at the Exhibition.

Lord Cockburn was a Law Lord, a judge, whose "conversational powers were of the first class. He was one of the brightest ornaments of the literary society for which Edinburgh has been so long famed. No man exemplified better or had a more therough appreciation of genuine Scottish humour. His Memorials of His Time (published posthumously in 1856) is an invaluable record of the social history of Scotland, narrated in the raciest and most genial manner.

Cockburn was a leading member of the growth of Scottish Liberalism. He "became a zealous Whig, and formed a lifelong intimacy with Jeffrey. Married in 1811. He retained his Scottish accent and was fond of Scotch illusions. His manner was extremely homely. After 1815 (he) advocated the extension of the parliamentary and municipal franchises of Edinburgh. (He) was at university with Lord Brougham and presided at a banquet for him in 1825. (He) drafted the first Scotch Reform Bill of 1831, was solicitorgeneral for Scotland to Jeffrey's Lord Advocate. (In) 1831 (he was) elected Rector of Glasgow University in preference to Joseph Hume and John Gibson Lockhart. (He) strenuously cooperated with some of his Whig brethren over the Disruption. His last appearance in writing before his death was as the writer of letters in a local newspaper, suggesting a scheme for the architectural improvement of Edinburgh. He was fond of protesting against such acts of vandalism and projects for defacing the Scottish capital as are chronicled in his "Letter to the Lord Provost on the best ways of spoiling the Beauty of Edinburgh. (reprinted as an appendix to his "Journal"). One of its chief modern educational institutions, the Edinburgh Academy was (in or about 1823) projected by Lord Cockburn in conjunction with Leonard Horner. Cockburn died 26 April at Bonaly, the house and grounds of which he had greatly improved and embehished, and he was buried at The Dean cemetery near the grave of his friend Jeffrey. Among friends he was a delightful companion, and his general unconventionality and genial familiarity with his countrymen of every class contributed to make him one of the most personally popular of Scotchmen. Carlyle said of him; "in all respects the converse or contrast of Wilson (Christopher North who died weeks before); rustic Scotch sense, sincerity and humour, all of the piratical Scotch type Cockburn, small solid and genuine was by much the wholesomer product; a bright cheery voiced, hazeleyed man; a Scotch dialect with plenty of good logic in it and of practical sagacity; veracious too. A gentleman I should say, and perfectly in the Scotch type, perhaps the very last of that peculiar species". His `Memorials of his Time' was criticised by Brougham and defended in the Edinburgh Review in "Scottish Lawyers and English Critics". (UNIV)

Cockburn too had links with Effie Ruskin. Effie went to Edinburgh on March 1st 1848 and stayed at 14 Charlotte Square with Lord Cockburn. His daughter Lizzie had been with her at Avonbank finishing school. Effie went to Lady Murray's party. Lady Murray was Mary Rigby, sister to Elizabeth Rigby, both of whom sat for Hill and Adamson. She had married John Archibald Murray (17791859), contributor to the Edinburgh Review since its foundation also a Judge and Law Lord. Lady Murray was well know for her hospitality. It was at Lady Murray's that Effie met her friend and correspondent Lady Trevelyan. She had married Sir Walter Trevelyan of Wallington, Northumberland who wrote reviews in The Scotsman. Lady Trevelyan was described by Ruskin as his "monitressfriend in whom I wholly trusted. She was loyal always to Ruskin and died on tour with him at Neufchatel in 1860.

Effie was a favourite of the old liberal establishment. On March 10th she went to a party with Lizzie Cockburn and Lord Cockburn at Lord Jeffrey's. She sat between Jeffrey and Lord Moncrieff, Sir James Wellwood Moncrieff of Tullibole Castle, Kinrosshire. She was "very flirtatious" with all these old men. (LUTYENS) The Cockburn marble bust of Brodie's early years became part of the SNPG's collection. (SNPG) Brodie was also to sculpt Moncrieff in 1863.

Brodie sculpted Lord Rutherford for Parliament Hall (SNPG). In fact, his name was spelled Rutherfurd, and to make matters more interesting that was not his name atall. His family name was Greenfield. Lothian Life tells the story thus; http://www.lothianlife.co.uk/2009/10/pyramids-of-east-lothian-and- edinburgh

"In Dean Cemetery, at the heart of Edinburgh’s Dean Village is a pink Peterhead granite pyramid that is a memorial to Sophia Rutherfurd. (In fact it is Lord Rutherfurd's grave; he died in Dec. 1854) Designed by the architect William Playfair, it was put up by Sophia’s husband Andrew Rutherfurd, Lord Advocate of Scotland and Rector of Glasgow University. The Rutherfurds – Andrew was created Lord Rutherfurd in 1851 – were very prominent in Edinburgh society. Sophia was a noted hostess, both at the couple’s Edinburgh home at 9 St Colme Street and later at Lauriston Castle. They counted much of the aristocracy and intelligentsia among their friends. But there was a darker secret behind the façade – they were not really Rutherfurds at all.

Andrew’s father was the Reverend William Greenfield. He was a minister at Edinburgh’s High Kirk and an acquaintance of Robert Burns. He became Moderator of the General Assembly of the Church of Scotland in 1796. In the same year the University of Edinburgh made him an honorary Doctor of Divinity. Two years later he was in disgrace – brought down by ‘indulging in unnatural lusts’ with some of the young university students who lodged at his manse.

There was no public scandal; the matter was hushed up, to preserve the good name of the Church and because the young men involved were from respectable families. Greenfield had his degrees rescinded and was sent into ‘exile’ in the north of England, where he changed his name to that of his wife – Rutherfurd."

Interestingly, Wikisource, does not mention this history, but then the text is taken from the DNB. http://en.wikisource.org/wiki/Rutherfurd,_Andrew_(DNB00)

It could well be that the carved panel on the pyramid is by Brodie.

This year too Brodie carved a statue of the Duke of Argyll destined for Dunrobin Castle

There was an "Argyll room" at Dunrobin Castle; the Argylls were related to the Sutherlands (GROOMES). George Douglas Campbell, the eighth Duke was born in 1823 and succeeded in 1847. He filled the office of Lord Privy Seal 185355, 185966, and 18801881, of Postmaster General 185558 and of Secretary for India 186874. He was the auther of Reign of Law, Iona, The Afghan Question, Primeval Man and other works. (GROOMES)

Brodie had obviously acquired an important clientele through his links with Simpson and Brewster for in this year he sculpted Hecamede for the Rt. Hon. Henry Labouchere, his first important English client. (GUNNIS) Labouchere was born in 1798. His mother was daughter of Sir Frances Baring. In 1830 he became MP for Taunton and then Minister at the Board of Trade where he repealed the Navigation Bill. From 1855 to 1858 he was Secretary of State for the Colonies. He was created Baren Taunton of Taunton in 1859. He died 13 July 1869 buried Over Stowey. As we have seen he was one of the Commissioners for the 1851 Exhibition and already had connections with Edinburgh having chaired the enquiry into the funding of Edinburgh in 1836. (UNIV)

Also in this year Brodie sculpted a classical bust of Andrew, Lord Rutherford, for the Parliament Hall (NPG)

1856 was the year I which the Photographic Society of Scotland was founded, by several members of the Gowans and Brodie circle, notably, Cosmo Innes, who remained a member until the Society was wound up in 1873. http://www.edinphoto.org.uk/3/3 pss members innes cosmo.htm His interest in calotypes would have meant that