Proc Soc Anliq Scot, 121 (1991). 427-435

Thomas Hadden: architectural metalworker Elizabeth F Wright*

ABSTRACT The paper presents a brief history of the ironworking firm of Thomas Hadden of , in operation from the late 19th century until 1975.

In 198d 1987 an e 6Nationa th , l Museum f Scotlano s d acquire da larg e collectiof o n wrought-iron work, photographs and ledgers dating from approximately 1890 to 1960, relating ironworkine th o t g fir f Thomamo s Hadde f Edinburgho n . This acquisition, fro r RobermM t Hadden, nephe firm'e th f wo s founder importans wa mai,o tw nr reasonstfo . First t providei , d a significant additio smala o nt l grou f materiapo Hadden'y lb s alread ye Nationa helth y db l Museums. Secondly e archivath , l material, supplemente y informatiodb n provider M y db Hadden, illustrated the development of a firm which was at the forefront of wrought-iron workin Scotlann gi d fro e latmth e 19th century unti closurs it l 1975n ei . This paper drawn so this archive to present a brief history of the company, which worked for and with many of the leading architects and designers of the first half of the 20th century. The firm was established in Edinburgh at a time of renewed interest in the skills of the decorative wrought-iron worker. The revival of the wrought-metal trade, which had suffered in the 19th century from the mass introduction of cheaper cast iron, was the result of an increasing interest in the preservation and revitalization of traditional Scottish styles and skills, particularl relation yi architectureo nt . Thomas Hadde s bor n wa Hamiltoni nn , Lanarkshire n 1871 i e , camH . e froma metal-working family and his father, grandfather and uncle all worked with iron in and around Haddington, East Lothian. Thomas trained initially at Howgate, near Edinburgh, and on the completion of his apprenticeship worked in Edinburgh for James Milne & Sons. In 1901, after a short period in , he decided to set up in business in East Silvermills Lane, Edinburgh, in partnership wit s brothehi h r Robert a woodcarver, . Fro s earliesmit t days e firth ,m specialize decorativn di e smithwork, principally, thoug t exclusivelyhno collaboration i , n with one of the leading exponents of the movement to revitalize Scottish vernacular traditions, . In his book on the work of Robert Lorimer, written shortly after the architect's death in 1929, Christopher Hussey states that Thomas Hadden consulted Lorimer before settinn i p gu business and that he was advised against the move (Hussey 1931,108). Indeed, Robert Hadden recalle uncls dhi e tellin tham gthi Lorime remarked rha d that 'he might hav breas butteed hi dan r bu woule it.th n o ' Despitdm havja o en e this less than encouraging advice, Hadden proceeded dan eventually worked with Lorime architect'e n mano rth f yo s best-known projects.

Royal Museum of . Queen Street, Edinburgh 428 SOCIETY OF ANTIQUARIES OF SCOTLAND. 1991

ILLU 1 SHadden' s workshop showin e smithgth s workin Thistle th n go e Chapel gate sc 191 0 (Copyright National Museum f Scotlando s )

Examples of this fruitful collaboration are to be found across Scotland, in houses such as Ardkinglass in Argyll and in Berwickshire. Perhaps the most outstanding commissions undertaken by the firm under Lorimer's direction, however, were the wrought- iron screens in the in the High Kirk of St Giles in Edinburgh, completed in wrought-iroe th 1911 d an , n gate steed san l caskeshrine Scottise th th n f i teo h Nationar Wa l Memoria Edinburgn i l h Castle, complete 1927n di . e ThistlTh e Chape le resula projecbequesth f s o t Lory wa tb t d Leve Melville& n . Initially intendes wa t i , restoro dt Royae eth l Chape t Holyroodhousa l meetina s ea g placr efo Ordee Thistlee th th f o r . However trusteee th , s decided agains proposae originae th t th d an ll bequest reverted to the Leven estate. A new scheme was initiated, involving the addition of a chape t GilesS o t l . This suggestion receive e suppor e youndth th f go t Lords Levehi d an n brothers and was duly accepted by the Kirk Session, and in 1909 Robert Lorimer was appointe architecte th s da . Essentially chapeprovide o t th ,s wa l permanenea t meeting place, where investitures into the Order could take place and where the Knights' banners could be hung. Lorimer's e chapedesig th s base r wa n fo lmedieva o d l themess realizatioit d an , n brought togethe skille varieta th r f so f Scottisyo h craftsme ClowA & n ,suc W carver s ha f so e choith r stalls, Douglas Stracha d Louian n s Davies, stained-glass makers d Thomaan , s Hadden. The gates and screens which were constructed for the entrance into the chapel mirror overale th l Gothic style. High pointed arches rise fro m'portcullisa whole th f irod s o 'ei nan surmounte arcn a hy d b containin gprofusioa f flowersno , probably wild roses, with berried san robins. Hadden's also produce metae dth l 'medieval helms' which surmoun Knightse th t ' Stalls WRIGI1T: THOMAS MADDEN: ARCHITECTURAL METALWORKER 429

ILLU 2 S Steel Casket, Scottish Nationa r MemorialWa l . c 192, 6 (Copyright National Museum f Scotlandso ) e completio(illuTh . chapee 1) s th f n191o n i lt onl 1no y established Robertf Lorimeo e on s a r the foremost architects in Scotland but resulted also in the conference of a knighthood in recognitio works hi f no . The proposal for a Scottish National War Memorial in Edinburgh was considered as early as 1917, when it was agreed, after rejecting sites at both Chambers Street and at Gallon Hill, late becomo t r t Andrew'eS s House, thae onlth t y suitabl e Castleth location eo s nwa Rock itself t withoue schemno Th . s problems eit wa tRoberr Si d tsan Lorimerbeed ha no wh , appointed architect, eventually submitted three separate proposals before the final outline was accepte d wordan k started. Whe e Memorianth s finallwa l y complete s widel1927n di wa t i ,y praised. The centre-piece is a steel casket containing rolls of honour inscribed with the names of all the Scottish servicemen who died in the First World War. The casket was executed by Thomas Hadden, while the detailed figures of the angels bearing shields and St Margaret and St Andrew were modelle Alicy db e Meredith Williams correspondencn (illuI . 2) s e citey db Christopher Hussey, Lorimer illustrate e greath s t attention e constructiotaketh n ni e th f no casket: Altogethe musI r t hav visit0 e3 madr Hadden'o st o 0 e2 s worksho trias errod wa allan l ln p i t al rI . the time, but the result is that I think you get a thing that looks 'smith made' in the end. Of course you can only work in this way with men you have worked with for years (Hussey 1931, 108). Sir Robert Lorimer's death, som yearo etw s afte completioe th r Scottise th f no h Nationar Wa l Memorial project d thi, en broughs fruitfun a o t t l collaboration a partnershi, p whicd ha h spanned nearl years0 y3 . 430 I SOCIETY OF ANTIQUARIES OF SCOTLAND, 1991

ILLU 3 S Railing t Carlisla s e Cathedral, showing Traquair' lily, c 1930 (Copyright National Museums of Scotland)

Although Hadden's skill craftsmaa s sa n undeniably benefited fro werd man e encouraged associatios byhi n with Lorimer e alsh , o worked extensively with other architect clientd san s who were attracted to the firm by its workmanship and continuing development of traditional Scottish forms (illus 3). 1910n I , Hadden's exhibite Arte th Craft s& n d i s Society Exhibitio Londonn ni , receiving a favourable reception. A newspaper cutting in the Hadden papers, unfortunately unascribed, illustrate e pointth s : Three exhibit Thomay b s s Hadden, Edinburgh, whose wor prominena s ki t featur Thistle th f o ee t Chapelonlno ye highlar , y recommende r theifo d r originalit e cleveth r d designrfo an y t bu , craftsmanship they displa thein yi r execution (Hadden Papers, cuttings. 1) x bo , Such favourable reviews attracted commissions n frosuc s Lormme a h d Carmichaed an l Hadden's undertook extensive work at his home at Skirling in Peeblesshire. Lord Carmichael was greatly inspire e ironworth y db t Traquaika r House near Innerleithen commise h d an , - sioned Hadde virtuallo nt y plan wrought-iroa t n garden roun houses dhi . What began a s na interes ironworkn i t , however, soon becam gardee passioea th d t Skirlinna nan g overflowed WRIGHT: THOMAS HADDEN: ARCHITECTURAL METALWORKER 431

ILLU S4 'Devil ato Worlde pth ' weathervane. Skirling, Peeblesshire. (Copyright National Museums of Scotland)

with decorative ironwork. Rabbitdog-shaped an g ,pi d footscrapers plac n wer i stand d t ean epu s for rambler roses and sweet pea trainers were topped with wrought-iron irises, lilies and tulips. e mosTh t intricate piece, however e 'Devith s l wa ato, Worlde pth ' weathervane (illu. 4) s In the years leading up to the Second World War, Hadden's continued to secure important commissions, working on cathedrals, castles, mansions and public buildings throughout Britain. They worked under the direction of many of the leading architects and artists of the day, including H Jefferson Barnes, and Leslie Grahame Thomson. In addition to these larger, 'prestigious' commissions the firm also undertook a variet f smalleo y r orders e 'brea th ,e d businessbutter th an d f o ' , producing fire-irons, well-head covers, lanterns and light-fittings (illus 5). A ledger which contains entries of work completed from c 1917 to 1930, details the completion of new cages and enclosures for and itemizes orders from the Glasgow firm of Messrs J & A Morlands for large quantities of horseshoes (Hadden Papers, Ledger no 1, 1917-30). e 1930 perio1940d a Th s san f schangwa d o e withi firme nth 1927n I . , Thomas Hadden's nephew, Robert, joined the business which had also moved to larger premises at Street, 194(illun I . 0s 6) Thoma s Haddenbeed semi-retirementha n ni o wh , , died and his nephew took over, retaining both the name and the style and quality of work 432 SOCIETY OF ANTIQUARIES OF SCOTLAND. 1991

IL.LUS5 Fire-irons 192,c 0 (Copyright National Museumsof Scotland) established by his uncle. During the Second World War many of Hadden's smiths adapted their skills to shipbuilding, working at Henry Robb's yard in . When the War ended, however, commissions again began to be placed for decorative ironwork, including many memorials for those who had been killed. There was a particular emphasis on commemorative gates and a fine example can be seen in the Royal High School playing-field gates at Jock's Lodge, Edinburgh. Perhaps the best known of Hadden's later commissions are the commemorative gates at Glasgow University e gatesTh . , which celebrate quincentenare dth Universite th f yo 1952n yi , were financed by donations from graduates world-wide. The design of the gates symbolizes a tree and its growth over the preceding five centuries. Each panel, or 'fruit of the tree', bears the nameminenn a f eo t Professo r graduato r e Universitth f eo y (illu. 7) s In 1959, a pair of memorial gates were commissioned by George Heriot's School in Edinburgh for their tercentenary celebrations. The designer of the gates, J Eversden Henderson, in a report on their design and execution, commented on the regard in which the firm was held by artists and architects: WRIGHT: THOMAS HADDEN: ARCHITECTURAL METALWORKER 433

ILLU S6 Hadden's workshop, Roseburn Street, Edinburgh (Copyright National Museums of Scotland)

With the design adopted it was considered that two or three firms in Scotland could do it justice. Messrs Thomas Hadden of Edinburgh, the firm selected to carry out the work, has a long family tradition for fine craftsmanship. . . . The tradition of fine hand-wrot work is still in force under the present directio r RoberM f no t Hadden e nephe foundee th , e firmth f th wt embrace o I f . o r e sth staff too, as the three craftsmen principally responsible for the different parts of the gate have been ther r morfo e e years than they car o remembert e . .. I hav. e enjoyed meeting craftsmeo wh n personally identify themselves with their work (Hadden Papers, Lecture notes of J Eversden Henderson). e varietTh f woryo k undertaken ove yeare th r s require dlargea , skille dedicated dan d workforce. The men had to execute the designs required of them both by the architects and designers and by Hadden himself. Often, particularly when working with Sir Robert Lorimer, Hadden was presented only with a sketch which had then to be interpreted and worked up to a scale design compane Th . y employe d smithThistl0 e betwee3 th d n so an e 5 Chapen2 l project in 1911. The men working on a commission were divided into two squads, the fitters who worke bence th werd t da han e good handworkers, know cols na dfiresmithe workth d o an , swh worked at the forge, understandably known as hot work. Extra hammermen were often also taken on for anvil work which was a semi-skilled job. Mansmithe th f yo s remained wit fire hth m throughout their working lives r exampleFo . , 434 SOCIETY OF ANTIQUARIES OF SCOTLAND, 1991

ILIJJS 7 Glasgow University Quincentenary Gates, c 1952 (Copyright National Museums of Scotland)

David Weston, who started as an apprentice in 1906 aged 14, remained with Hadden's until his retiral some 50 years later (illus 8). Likewise others who trained with the firm left to take up job t onlsno y throughout Britai t alsnbu o overseas e varietTh . f skillyo s demanden me e th f do required thevere b myo t adaptable. Ironically, their abilit adapo yt changino t g circumstances contributed in part to the gradual decline of the craft. After the Second World War, many decorative ironworkers increasingly found better-paid metalworking job industryn si . Coupled wit e increasinhth s thiwa s g unavailabilit f sucyo basiha c requiremen e correcth s a t t typf eo coacoaa - l l producing intense inward heat, know smiths a n y nuts. Changing architectural styles alsd theioha r effect wit e movhth e towards functionalis formn mi combinatioA . f no factors therefore hastene e declin specialise dth th f eo t metalworke fire f Thomath mo d an r s Hadden ceased productio 1975n ni . Lookin generan g i wrough e th t a l t ironwor t Hadden'a kn produceme e s th ove y e db th r e firm'year0 7 th f so existence e lastinth , g impressio lightnesa f o s ni f desigso n coupled with great technical ability, linke strona o dt g dependenc naturan eo l forms botanicae Th . l motifs- lilies, thistles ,sturdines e vine th berried d san an structurf s- so e closely link Hadden'e th o st Scottisd ol h tradition f wroughso t ironwork t Traquaiwhica stiln m seee ai hca b l n ni r House, Innerleithen, and House near Edinburgh. Commissions undertaken by the firm encompasse dvarieta f projectsyo , fro restoratioe mth f castleno countrd an s y housee th o st smaller-scale domestic commissions of garden gates and window grilles. Indeed, examples of the skills and ingenuity of Thomas and his nephew Robert Hadden, and the men they employed, can be seen today throughout Britain, from Lympne Castle, Kent, to Dunrobin Castle, . WRIGHT: THOMAS HADDEN: ARCHITECTURAL METALWORKER 435

ILLU S8 David Westo e anvith t lna (Copyright National Museum f Scotlando s )

POSTSCRIPT Since this pape firss rtwa conceive writted dan r RobernM t Hadde dieds nha woul1 . d like to take the opportunity of thanking Mrs Hadden for the help and kindness both she and her husband showed to me during my research into the firm and for the hospitality which they extende dcolleaguey botm myselo o Nationae ht t th d t sa an f l Museum f Scotlandso I hop. e this paper goes some way towards encouraging renewed interest in wrought ironworking and perhaps somo t , e extent, redresse e balancsth craftsmanbehale n eo th f o f .

REFERENCES Ayrton, M & Silcock, A 1929 Wrought Iron and its Decorative Use. London. Hadden Papers National Museums of Scotland. Hussey C , 193 r Roberte WorkSi 1Th f o Lorimer. London. Lister R , 1957 Decorative Wrought Iron Greatn i Britain. London. Murphy, B S 1904 English and Scottish Wrought Ironwork. London. Savage P , 1980 Lorimer Edinburghe th d an Craft Designers. Edinburgh. Third Statistical Account of Scotland 1966 The City of Edinburgh. Glasgow.

This paper publishedis granta of from Nationalaid with the the Museums Scotlandof