Jon Craig and William Allan the Concept of Tax Expenditures Was De

Total Page:16

File Type:pdf, Size:1020Kb

Jon Craig and William Allan the Concept of Tax Expenditures Was De FISCAL TRANSPARENCY, TAX EXPENDITURES, AND BUDGET PROCESSES: AN 1 INTERNATIONAL PERSPECTIVE Jon Craig and William Allan The concept of tax expenditures was developed in the United States and Germany in the 1960s and spread to a significant number of OECD countries in the 1980s. There has been a renewed international interest of late, with Brazil and Korea and a few non-OECD members adopting the practice of reporting tax expenditures to the public. This paper outlines the work being initiated through the IMF Code of Good Practices on Fiscal Transparency to promote the tax expenditure concept as a standard feature of national budget presentation. A. Fiscal Transparency and Tax Expenditures The international community has sought to promote more openness about the conduct of fiscal and other policies in member countries. To that end, the Fund staff developed a Code of Good Practices in Fiscal Transparency that was initially approved by the Executive Board of the Fund in April 1998, and a slightly modified version was approved by the Board on March 26, 2001. The fiscal transparency code defines a set of specific principles, and, under each of these principles, a set of operational good practices.2 Member countries implement the code on a voluntary basis. Countries indicate their commitment to transparency by participating in a Report on the Observance of Standards and Codes (ROSC), which involves, first, consideration of their practices against a self-assessment questionnaire and then an assessment by IMF staff against each of the good practices defined in the code, including suggestions of priority areas to improve transparency. ROSCs will be periodically updated as part of the Fund’s regular consultation with the authorities (surveillance). Transparency and tax expenditures. Major emphasis is given in the fiscal transparency code to achieving good practices in presenting the conventional budget and accounts data in a timely, reliable, and analytically meaningful way. The code goes beyond this, however: it aims to extend the 1 The authors wish to thank Messrs. Emil Sunley, John Crotty, Michael Keen, Howell Zee and other colleagues from the Fiscal Affairs Department (FAD) of the IMF for comments on earlier drafts of this paper. The views expressed are those of the authors, however. 2 A regularly updated overview of work on promoting standards and codes (including the fiscal transparency code) by the IMF, in conjunction with the World Bank and other international agencies, is given on the IMF website through the Standards & Codes page http://www.imf.org/external/standards/index.htm. sesion 3- conferencistas-Allan.prn January 28, 2002 (3:43 PM) - 2 - coverage of fiscal information to cover all fiscal activity and to extend the information horizon over a longer timeframe, rather than simply improve practices in what governments presently choose to put in the public budget and accounts. It specifically covers reporting on the use of tax concessions as an alternative to spending programs similar to that originally proposed by Surrey (1973). Section 2.1.3 of the code advocates that “statements describing the nature and fiscal significance of central government contingent liabilities and tax expenditures, and of quasi-fiscal activities, should be part of the budget documentation.” More generally, the code (section 3.1.1) seeks clarity in statements of fiscal policy, including tax policy. Within the industrial world, there is a continuing need to document tax expenditures in a more systematic and internationally comparable manner, both to facilitate budget discipline and to foster tax reforms that seek to attain the advantages of broad tax bases and low statutory rates. The importance of tax expenditures has been also growing within developing countries, and an increasing reliance on inefficient incentives (tax holidays, indirect tax exemptions, and geographical incentives) has been observed, 3 particularly among the countries that are least integrated into the international capital markets. Of particular concern is the evidence of regional patterns to the incentives offered by countries, suggesting the advent of unhelpful competitive “copycat” behavior and pointing to the desirability of greater regional coordination. Staff recommendations on implementing tax expenditure budgeting through the transparency manual and individual ROSCs,4 have thus far been largely confined to suggesting preliminary work on estimating revenue foregone through tax concessions with reference to practices pursued by various OECD countries. It has become clear that more precise guidelines need to be developed. In the absence of an agreed standard definition, neither tax expenditures nor the benchmarks against which they should be measured are clearly defined. Moreover, no clear guidance is provided from country practice on how such estimates might best be integrated into the budget process. The fiscal transparency framework may avoid some of the contention that has surrounded debate among some OECD countries on these issues, since it is specifically concerned with the promotion of open budget processes and the code clearly separates transparency 5 objectives from tax policy arguments. 3 See Tanzi and Zee (2000). 4 See http://www.imf.org/external/standards/index.htm. 5 Some of the literature on tax expenditures in the budget process tends to advocate a particular view of tax policy rather than simply promoting transparency in tax policy and budget decisions. Thus, to some, Surrey’s original rationale for introducing tax expenditures gave strong emphasis to the policy goal of eliminating tax preferences, implicitly supporting a pure form of the Haig Simons concept of comprehensive income as the appropriate basis for tax policy. Similarly, over the years, there have been many critics of this concept including Bartlett (2001), who noted the lack of conceptual and methodological consistency but again advocated a particular and very different view of the appropriate basis for tax policy. - 3 - B. Tax Expenditure Benchmarks and International Experience In considering the present state of tax expenditure estimation in member countries four main points emerge. First, and most importantly, the data available are sparse. Only about a tenth of the present Fund membership of 183 countries produces any tax expenditure estimates. In the context of the fiscal transparency code, Table 1, drawn from ROSCs that have been completed and other published information on transparency, shows that few countries other than a number of the advanced economies report tax expenditures—and these countries also make extensive use of other off-budget mechanisms to conduct fiscal policy. Second, as discussed below, the variety of approaches used makes international comparisons very difficult and obscures analysis of the tax and budget issues that are a central reason for making such estimates. Third, the range of taxes covered by those that produce estimates is not complete. Very few countries make any assessment of tax expenditures under social security contribution arrangements or of those made through the smaller indirect taxes (such as motor vehicle taxes or excises), and none of the countries attempts an assessment of tax expenditures from taxes on international trade. Finally, tax expenditure data most often do not cover the total general (central and subnational) government sector of any country. While subnational governments in a number of countries produce tax expenditure data, it is not complete or readily available in any centralized form and, therefore, is very difficult to utilize in compiling a picture of tax expenditures by the general government sector. Tax expenditures are measured as deviations against a “normal tax structure” or benchmark. In the literature, there is considerable discussion of the appropriate concept of a tax benchmark. When the concept was being developed in the United States in the 1960s, the Haig Simons comprehensive income base was the preferred option. However, this discussion was framed against the background of the importance of the personal and corporate income tax within the federal budget. Other bases have been proposed including a labor income base, and expenditure or consumption base, and a lifetime’s consumption approach. All have proponents and detractors, but none is seen as entirely satisfactory.6 In order to define their benchmarks, countries generally use three broad approaches: (i) a conceptual approach which seeks to link the benchmark to a “normal tax structure,” the most important being the Haig Simons concept for income taxes and, in some cases, the concept of a “pure” VAT baseline; (ii) a reference law approach which uses a country’s existing tax law as a basis to define both the benchmark (for example, income subject to tax) and the concessions giving rise to tax expenditures; and (iii) an approach that seeks 6 The Canada Department of Finance (2000) budget document summarizes the advantages and disadvantages of different benchmark concepts. - 4 - Table 1. Reporting Off-budget Fiscal Activity Country 1/ Tax Expenditures Contingent Liabilities Quasi-fiscal Activities Developing Economies Cameroon No No No Honduras No No No but small Mozambique No No No but small Papua New Guinea No No No and sizeable Tunisia No No No; unknown Uganda No No No; unknown Zambia No No and sizeable Transition Economies Azerbaijan No No* No and sizeable Armenia No No No and sizeable Bulgaria No 2/ No 2/ No; /2 unknown Estonia No No No but small Kyrgyz Republic
Recommended publications
  • Scottish Art: Then and Now
    Scottish Art: Then and Now by Clarisse Godard-Desmarest “Ages of Wonder: Scotland’s Art 1540 to Now”, an exhibition presented in Edinburgh by the Royal Scottish Academy of Painting, Sculpture and Architecture tells the story of collecting Scottish art. Mixing historic and contemporary works, it reveals the role played by the Academy in championing the cause of visual arts in Scotland. Reviewed: Tom Normand, ed., Ages of Wonder: Scotland’s Art 1540 to Now Collected by the Royal Scottish Academy of Art and Architecture, Edinburgh, The Royal Scottish Academy, 2017, 248 p. The Royal Scottish Academy (RSA) and the National Galleries of Scotland (NGS) have collaborated to present a survey of collecting by the academy since its formation in 1826 as the Scottish Academy of Painting, Sculpture and Architecture. Ages of Wonder: Scotland’s Art 1540 to Now (4 November 2017-7 January 2018) is curated by RSA President Arthur Watson, RSA Collections Curator Sandy Wood and Honorary Academician Tom Normand. It has spawned a catalogue as well as a volume of fourteen essays, both bearing the same title as the exhibition. The essay collection, edited by Tom Normand, includes chapters on the history of the RSA collections, the buildings on the Mound, artistic discourse in the nineteenth century, teaching at the academy, and Normand’s “James Guthrie and the Invention of the Modern Academy” (pp. 117–34), on the early, complex history of the RSA. Contributors include Duncan Macmillan, John Lowrey, William Brotherston, John Morrison, Helen Smailes, James Holloway, Joanna Soden, Alexander Moffat, Iain Gale, Sandy Wood, and Arthur Watson.
    [Show full text]
  • Disfigurement and Disability: Walter Scott's Bodies Fiona Robertson Were I Conscious of Any Thing Peculiar in My Own Moral
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by St Mary's University Open Research Archive Disfigurement and Disability: Walter Scott’s Bodies Fiona Robertson Were I conscious of any thing peculiar in my own moral character which could render such development [a moral lesson] necessary or useful, I would as readily consent to it as I would bequeath my body to dissection if the operation could tend to point out the nature and the means of curing any peculiar malady.1 This essay considers conflicts of corporeality in Walter Scott’s works, critical reception, and cultural status, drawing on recent scholarship on the physical in the Romantic Period and on considerations of disability in modern and contemporary poetics. Although Scott scholarship has said little about the significance of disability as something reconfigured – or ‘disfigured’ – in his writings, there is an increasing interest in the importance of the body in Scott’s work. This essay offers new directions in interpretation and scholarship by opening up several distinct, though interrelated, aspects of the corporeal in Scott. It seeks to demonstrate how many areas of Scott’s writing – in poetry and prose, and in autobiography – and of Scott’s critical and cultural standing, from Lockhart’s biography to the custodianship of his library at Abbotsford, bear testimony to a legacy of disfigurement and substitution. In the ‘Memoirs’ he began at Ashestiel in April 1808, Scott described himself as having been, in late adolescence, ‘rather disfigured than disabled’ by his lameness.2 Begun at his rented house near Galashiels when he was 36, in the year in which he published his recursive poem Marmion and extended his already considerable fame as a poet, the Ashestiel ‘Memoirs’ were continued in 1810-11 (that is, still before the move to Abbotsford), were revised and augmented in 1826, and ten years later were made public as the first chapter of John Gibson Lockhart’s Memoirs of the Life of Sir Walter Scott, Bart.
    [Show full text]
  • Biography Daniel F
    Newsletter No 40 Autumn 2012 From the Chair SSAH Research Support Grants I hope you’re all enjoying the summer. This is The Scottish Society for Art History promotes always a busy time for us as we prepare the scholarship in the history of Scottish art and art papers for the next Journal, which this year will located in Scotland. To facilitate this, the SSAH focus on Scottish connections to and research on offers research support grants from £50 to £300 the Pre-Raphaelites. It will include, among to assist with research costs and travel expenses. others, Rossetti’s relationship with animals; the Applicants must be working at a post-graduate eco-socialism of William Morris; attitudes to the level or above and should either be resident in PRB by the Edinburgh Smashers Club; and the Scotland or doing research that necessitates Pre-Raphaelite influence on landscape painter travel to Scotland. Application deadlines: 30 George Wilson. We hope to have the journal November and 31 May. ready in time for our AGM, which this year will be in the splendidly re-designed Scottish To apply please send via e-mail: National Portrait Gallery on 8 December – please note the date in your diaries! a cover letter Another date to keep free if you can is 17 current curriculum vitae November, when we will be holding an a brief project description (300-500 words) afternoon conference at George Watson’s specifying how the grant will be used and College in Edinburgh looking at French artists how it relates to a broader research agenda who worked in Scotland in the late 18th and 19th a budget centuries, and the influence this had on their the name and e-mail address of one work – see below for more information.
    [Show full text]
  • Threepenny Guide & Directory for Stirling, Bridge of Allan
    Threepenny STIRLINC/BRIDCE Of ALLAN, Dunblane, DouNE, Si niniansjcBannockbiirn STIRLING. BRiiCE cf ALLAN sDUNBLANt STIRLING DAVID MILLER * SOW. ^ BAK&H STREE T >0A PATERSON & SONS' LONDON AND PARIS PIASOFOBTE, EARMOMM, ASD MFSIC S A L K S. The Largest Stock of Instruments in Scotland for Sale or Hire. PubUshers of the Celebrated GUINEA EDITION of the SCOTCH SONGS. SECOND-HAND PIANOFOKTES AND HARMONIUMS. PATERSON & SONS Have always on hand a Selection of COTTAGE, SQUARE, AND SEMI-GEAND PIANOFOKTES, SLIGHTLY USED. THE PATENT SIMPLEX PIANETTE, In Rosewood or Walnut, EIGHTEEN GUINEAS. This Wonderful Little Cottage Piano has a good touch, and stands well in Tune. FuU Compass (6i Octv.) HARMONIUMS BY ALEXANDRE, EVANS, and DEBAIN, From 6 to 85 GUINEAS. A Large Selection, both New and Segond-Hand. PATERSON 8c SONS, 27 GEORGE STREET, EDINBURGH; 152 BUCHANAN STREET, GLASGOW; 17 PRINCES STREET, PERTH. National Library Of S^^^^^^^^^^ -k ^^^^^ i^fc^^*^^ TO THE HONOURABLE THE OF THE ^v- Zey /Ma Digitized by the Internet Arciiive in 2010 witii funding from National Library of Scotland http://www.archive.org/details/threepennyguided1866dire .. ... insriDExi- - Address, . Stirling, Stirling Castle, Back Walk, . Cemetery, . Ladies' Eock, Hospitals, Drummond's Tract Depot, Post-Office, . Stirling General Directory, Street Directory, Academies and Schools, Places of Worship, Sacramental Fast-Days, . Stirling Young Men's Christain Association, Trades and Professions Directory, Stirling Town Council, &c., Commissioners of Police, Sheriflf Court, Small Debt Court, Commissary Court, Justices of the Peace, Stirling Castle Officials, High School, School of Arts, Faculty of Writers, Parochial Board, Excise Office, Gas-Light Company, ... Water-Works, Athenseum Subscription Eeading-Eooru, Macfarlane Free Library, Newspapers, .
    [Show full text]
  • Sir William Allan (British 1782-1850)
    anticSwiss 24/09/2021 17:07:09 http://www.anticswiss.com Sir William Allan (British 1782-1850) FOR SALE ANTIQUE DEALER Period: 19° secolo - 1800 Mory Talasazan New York Style: Altri stili +1 9176869732 19176869732 Height:40.64cm Width:60.96cm Price:8117.71€ DETAILED DESCRIPTION: Sir William Allan (British 1782-1850) "Circassian Captives" Oil on Board Painting. An exceptional quality painting in every way. The details are phenomenal, the scene is captivating. The Sale of Circassian Captives to a Turkish Bashaw depicts a Circassian tribal chief selling captives of a neighboring tribe taken in war, to a Turkish Sultan or Pasha (Bashaw). The exposed portion of the board measures 16 by 24 in (41 x 61 cm) and the period giltwood frame measures 23 by 30 inches. According to Christie's (from their description of lot 82, a painting by Allan with estimate of 30,000-50,000 GBP, in their sale in London on June 7, 2007), the original painting was exhibited to great acclaim in 1815 in Edinburgh. A reproduction on paper by the Scottish engraver, James Stewart, resides in the collection of the National Galleries of Scotland, and we have seen another appear for sale online, but ours is the painted work after the original that we have seen in our almost 20 years in business. Allan was a distinguished Scottish historical painter. A member of the Royal Academy, he also served as President of the Royal Scottish Academy. He travelled widely, to France, Germany, Russian, Spain, Morocco and elsewhere, and is known for his painted genre scenes of historic moments and battles, and for his portraiture.
    [Show full text]
  • Sir Walter Scott by John Gibson Lockhart
    THE LIFE OF SIR WALTER SCOTT BY JOHN GIBSON LOCKHART VOLUME VII EDINBURGH PRINTED BY T. AND A. CONSTABLE FOR T. C. AND E. C. JACK CAUSEWAYSIDE 1902 : CONTENTS OF VOLUME VII CHAPTER LV. 1822 William Erskine promoted to the Bench : Joanna Baillie's Miscellany : Halidon Hill and Macduft^s Cross : Letters to Lord Montagu : Last Portrait by Raeburn : Constable's Letter on the appear- ance of the Fortunes of Nigel : Halidon Hill published ........ CHAPTER LVI. 1822 Repairs of Melrose Abbey : Letters to Lord Montagu and Miss Edgeworth : King George IV. visits Scotland : Celtic mania : Mr. Crabbe in Castle Street : Death of Lord Kinnedder : Departure of the King : Letters from Mr. Peel and Mr. Croker CHAPTER LVII. 1822-1823 Mons Meg: Jacobite Peerages: Invitation from the Galashiels Poet : Progress of Abbotsford House Letters to Joanna Baillie, Terry, Lord Montagu, etc.: Completion and Publication of Peveril of the Peak 78 V :::: CONTENTS CHAPTER LVIII. 1823 PAOE Quentin Durward in progress: Letters to Constable, of Waverley and and Dr. Dibdin : The Author the Roxburghe Club: The Bannaityne Club founded: Scott Chairman of the Edinburgh Oil Gas Company, etc.: Mechanical Devices at Abbotsford: Gasometer: Air-Bell, etc. etc.: The Bellenden Windows 117 CHAPTER LIX. 1823 Quentin Durward published: Transactions with Con- stable : Dialogues on Superstition proposed Article on Romance written: St. Ronan's Well ' ' begun : Melrose in July —Abbotsford visited by Miss Edgeworth, and by Mr. Adolphus: His Memoranda : Excursion to AUanton : Anecdotes Letters to Miss Baillie, Miss Edgeworth, Mr. Terry, etc. : Publication of St. Ronan's Well . 147 CHAPTER LX. 1824 Publication of Redgauntlet : Death of Lord Byron ' Library and Museum : The Wallace Chair ' House-Painting, etc.
    [Show full text]
  • Grega Thesis Final Draft No Title Page
    © COPYRIGHT by Danielle Therese Grega 2017 ALL RIGHTS RESERVED For my family, especially Marion Grega. MYTHOLOGIZING MARY: WILLIAM ALLAN’S THE MURDER OF DAVID RICCIO AND SCOTTISH NATIONAL IDENTITY IN THE 1820S BY Danielle Therese Grega ABSTRACT This thesis analyzes Sir William Allan’s history painting The Murder of David Riccio (1833) in relation to the formation of Scottish identity at a pivotal moment in the nation’s history. The painting represents the death in 1566 of Mary Stuart’s trusted secretary at the hands of her husband Henry Stuart, Lord Darnley, while the pregnant queen watches the grisly killing unfold. I argue that Allan uses the historical figure of Mary Stuart, Queen of Scots, as an allegory of Scotland. At the time Allan painted this work, artists across Europe were grappling with the problem of how pictorially to define “the nation”; often, they used female figures as allegorical representations of that abstract concept. Placing Allan’s painting in its historical and political context, I relate it to the artist’s Unionist political beliefs. In my interpretation, the painting attempts to forge a distinctly Scottish identity by celebrating one of the nation’s foremost leaders, while also legitimizing its union with Great Britain. I show that gender ideology plays a key role in this complex balancing act. By representing Mary as a passive and compliant figure, Allan makes Scotland the feminized partner to its more “masculine,” powerful partner, Britain. Allan thus mobilizes Mary as a symbolic figure who reconciles the nation’s particular character and autonomous past with its identity as a part of the United Kingdom.
    [Show full text]
  • The Quest for Truth and Beauty
    PART 3 The Quest for Truth and Beauty La Belle Dame Sans Merci, 1893. John Williams Waterhouse. Oil on canvas, 44.09 x 31.89 in. Hessisches Landesmuseum, Darnstadt, Germany. “I am certain of nothing but the holiness of the heart’s affections and the truth of imagination—what the imagination seizes as beauty must be truth—whether it existed before or not.” —John Keats 841 John William Waterhouse/Hessisches Landesmuseum, Darmstadt, Germany/Bridgeman Art Library 00841841 U4P3-845482.inddU4P3-845482.indd Sec2:841Sec2:841 11/29/07/29/07 12:49:5612:49:56 PMPM BEFORE YOU READ Byron’s Poetry MEET GEORGE GORDON, LORD BYRON eorge Gordon, Lord Byron—aristocrat, In his own poet, member of Parliament, athlete, words, “I Gexpatriate, and freedom fighter—was awoke one perhaps the most colorful figure of his day. morning and found myself famous.” “Be thou the rainbow to the storms of life, His books sold well, and he influenced art and fashion, as well as literature, The evening beam that smiles the with his flamboyant style. In addition, as a member clouds away, of the House of Lords, he championed liberal politi- And tints to-morrow with prophetic ray!” cal causes. For example, he bravely defended the rebelling Nottingham weavers, whose jobs were —Lord Byron, The Bride of Abydos threatened by new textile machines. Soon, however, this extraordinarily handsome poet—with brown curly hair, fine features, and Descended from two noble but flamboyant and vio- intensely brilliant eyes—saw his fame turn to noto- lent families, Byron inherited his title and a large riety.
    [Show full text]
  • Nineteenth Century Literary Manuscripts, Part 4
    Nineteenth Century Literary Manuscripts, Part 4 NINETEENTH CENTURY LITERARY MANUSCRIPTS Part 4: The Correspondence and Papers of John Gibson Lockhart (1794-1854), Editor of the Quarterly Review, from the National Library of Scotland Contents listing PUBLISHER'S NOTE CONTENTS OF REELS DETAILED LISTING EXTRACTS: On the Cockney School of Poetry When Youthful Faith has Fled Nineteenth Century Literay Manuscripts, Part 4 Publisher's Note John Gibson Lockhart (1794-1854) desrves our attention for many reasons: He was one of the most important critics of the 19th century He was Editor of The Quarterly Review He became Scott’s Boswell, writing an acknowledged masterpiece of biography He played an important part in the rise of the novel as a literary form His letters provide a detailed account of literary society in Edinburgh and London His papers are now opened to a wider audience through the publication of this microform edition. They include: 14 volumes of correspondence received by Lockhart as Editor of The Quarterly Review, 1825-1854 (NLS MSS.923-936); 3 volumes of letters from Lockhart to Whitwell Elwin, his successor as Editor (NLS MSS.145, 341 & 2262); 3 volumes of correspondence between Lockhart and Scott, 1818-1832 (NLS.MSS.142-143, & 859); 7 volumes of family letters, 1820-1854 (NLS.MSS.1552-1558); 1 volume of letters from Lockhart to Allan Cunningham about the Lives of British Painters (NLS.MS.820); and 10 volumes of literary manuscripts by Lockhart (NLS.MSS.1623-1626, 3995 & 4817-4822). The Editorial correspondence is especially rich and includes letters from Byron, Coleridge, Croker, Disraeli, Edgeworth (one entire volume and numerous other letters besides), Murray, Norton, Southey (“a willing and ready assistant in your new undertaking”), and Wordsworth.
    [Show full text]
  • Walter Scott and James Skene a Creative Friendship Richard• Hill
    ROMANTICT EXTUALITIES LITERATURE AND PRINT CULTURE, 1780–1840 • Issue 21 (Winter 2013) Centre for Editorial and Intertextual Research Cardiff University RT21.indb 1 16/07/2014 04:53:34 Romantic Textualities is available on the web at www.romtext.org.uk, and on Twitter @romtext ISSN 1748-0116 Romantic Textualities: Literature and Print Culture, 1780–1840, 21 (Winter 2013). <www.romtext.org.uk/issues/rt21.pdf>. © 2013–14 Centre for Editorial and Intertextual Research Published by the Centre for Editorial and Intertextual Research, Cardiff University. Typeset in Adobe Garamond Pro 11 / 12.5, using Adobe InDesign cc; images and illustrations prepared using Adobe Illustrator Cc and Adobe PhotoShop Cc; final output rendered with Adobe Acrobat xi Professional. Editor: Anthony Mandal, Cardiff University, UK Associate Editor: Nicola Lloyd, Cardiff University, UK Reviews Editor: Katie Garner, University of Cork, Ireland Editorial Assistants: Esther McConnell, Rhiannon Hayes, Joshua Naylor, Cardiff University, UK Advisory Board Peter Garside (Chair), University of Edinburgh, UK Jane Aaron, University of Glamorgan, UK Stephen Behrendt, University of Nebraska, USA Emma Clery, University of Southampton, UK Benjamin Colbert, University of Wolverhampton, UK Gillian Dow, University of Southampton / Chawton House Library, UK Edward Copeland, Pomona College, USA Gavin Edwards, University of South Wales, UK Gillian Dow, University of Southampton / Chawton House Library, UK Penny Fielding, University of Edinburgh, UK Caroline Franklin, University of Swansea,
    [Show full text]
  • Roll of Honour in Memory of the Former Boys of the Orphan Homes of Scotland Who Served in the First and Second World Wars
    Roll of Honour In memory of the former boys of the Orphan Homes of Scotland who served in the First and Second World Wars. Harry Adair George Brown James Clark Charles Adamson (1909) John Brown John M Clarke Frank Aikenhead M William Brown William Clark Alex Aikenhead Michael Brown John Clelland Tom Aikenhead Robert Brown Alexander Cliff Robert Alcorn Daniel Buchanan John Clinton (1913) James Allan John Buchanan (1907) James Cochrane Duncan Allan John Buchanan (1899) James Coghill William Allan Peter Buchanan William Coghill William Allan (1905) Robert Buchanan John Collins William B Allan Frank L Burges William Collins William Allison James Burges Archie Colville Frank J Anderson James Burke Thomas Connelly James Anderson George Burns Harry Cook James M Anderson Norman Butler Peter Cook John Anderson William Butters Robert Cook Walter Anderson William J Corrigan William Anderson Samuel Caddick William Craigens Alexander Angus Peter Cairnie William Cranston Lauchlan A Argo William Caldwell Hugh Cranston Owen Ayres James Cambridge Alexander Crawford Alexander Cameron Archibald Crawford (1914) Robert Ballantyne Donald Cameron (1911) James Creighton Robert Balsillie Gordon Cameron Robert Creighton WF Barber Alexander Campbell Richard W Crichton Alexander Barclay Charles McK Campbell David Croall James Barr David Campbell (1908) Geo S Cumming Andrew Bathgate George Campbell William Cumming Robert Baxter Hector Campbell Charles Cuthbertson (1909) John Baxter John Campbell Joseph Baxter Peter M Campbell William Davidson Alexander Beaton William
    [Show full text]
  • Queen Victoria and the Myth of the Highlands
    Victoria Albert &Art & Love ‘The whole is quite consonant with the truth’: Queen Victoria and the myth of the Highlands John Morrison Essays from a study day held at the National Gallery, London on 5 and 6 June 2010 Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love ‘The whole is quite consonant with the truth’: Queen Victoria and the myth of the Highlands John Morrison Fig. 1 Edwin Landseer (1802–73), Queen Victoria landing at Loch Muick, 1850 Oil on canvas, 42.9 x 76.5cm Royal Collection, RCIN 403221 Queen Victoria and Prince Albert visited Scotland for the first time in 1842 and embarked on a lifelong association with the country, its wild and beautiful landscape, its people and its ancient traditional culture. At least that is the popular perception. In fact, from the first to the last, from the couple’s sojourn at Blairs Castle in Perthshire in 1844 to the lease, purchase and rebuilding of Balmoral on Deeside, and the subsequent extended annual residences there, the couple had a love affair with a fantasy, a myth.
    [Show full text]