Inspired by St Andrews: an Interview with Mark Holden

Mark Holden is a landscape artist who has long been inspired by both the built and natural beauty of St Andrews. Here in the third blog of featuring some of the products from our Museum Shop Caitlin Meldrum, Visitor Services Supervisor for the University of St Andrews Museums asks Mark to tell us more about what inspires him in his artworks:

CM: The prints that we have of yours are well known areas around St Andrews. What is the personal significance of this town?

MH: My Professional Art career was started here in St Andrews in 2002 from challenging beginnings. I was using painting therapeutically to develop back my self-esteem after a period of ill health. My renewed passion for the town was discovered then having been away from it many years. Painting it was the next obvious challenge for me.

CM: What are the reasons for the areas you select to depict in your artworks around St Andrews?

MH: The composition locational choices result from what I see as the places that best reflect the character and charm of the town.

CM: You’ve produced a lot of work which features St Andrews, and some of these in particular, depict some of the university buildings. Why did you select these, and what do you think the University means to the town?

MH: Being the Oldest University in Scotland and it having celebrated its 400th Anniversary in recent years, and having known many students who studied here over many years, it was a good topic of interest for my work to compliment the general landscapes of the town I was working on. The “Town and Gown” relationship is an important link between town folk and University staff and students, given the close interaction physically both feed off and benefit from each other. Having come to know many folk who have taught and learned here it has enriched my life in many ways over many a dinner at my parents.

CM: Are you able to talk us through some your process or mediums that you use?

MH: My main medium to paint with is Oils. It’s the traditional means to paint and conveys texture and colour well. More recently I have been working in watercolours, and these allow for a more delicate interpretation and style of work. Watercolours can be mixed with pen, (pen and wash) to create a nice illustrative style that is good for portraying buildings and townscapes.

CM: How did you get into making art and do you have any inspirations?

MH: It was always a childhood passion, drawing and designing. It was only after many years in a Marketing working environment and subsequent health scare ,that I was able to return to painting and drawing ,and as my passion for this was re-ignited and my work began to be appreciated and purchased, I then turned it into my new career.

CM: Do you have a spot in St Andrews that is your personal favourite?

MH: Probably the most frequently painted view  and commission request I receive  are for the view  of the West Sands looking back towards town, an iconic view in my opinion and one that  best conveys the essence of St Andrews at all times and seasons.

CM: You kindly agreed to give us one of your original artworks for the museum shop. Can you tell us more about this piece? 

MH: Given my answer to the last question, that is why the painting you have is of the West Sands. It is a smaller scale work in Oils, but usually they are in larger formats, ranging from 300x300mm to 600x600mm. Every painting captures a different atmosphere, as is the actual view itself, ever changing with the Fife weather. It is in my Impressionistic style (not representational like a photograph) hence I aim to capture the mood suing this style of painting.

CM: We are aware you have been asked to do some commission pieces for the University of St Andrews. Are you able to tell us anything about these?

MH: The main University painting was commissioned by the University Court, as a gift when Professor Louise Richardson, completed her time at the University before heading to her new role at Oxford University. It was of the West Sands iconic view once again. Interestingly, she also commissioned me personally to produce another view of the town for herself from the Pier looking back to the Cathedral and harbour, as she liked my style of Scottish Impressionism. Both were in Oils. She has written to me after that to say how they feature in her main living space at the University there.

CM: The University Museums are currently involved in a campaign that is part of a call to action to protect our oceans. Other pieces that you do are also based on coastal images, have you noticed a change in this environment, or try to depict this in your art?

MH: This final question is an interesting one, as over lockdown last year I was based at my parents in St. Andrews and photographed and painted a lot of fresh material in that new unexpected time in our lives.. I was drawn to the East Sands more in the early mornings and hence have used that in new work, and in fact have had fresh commissions of that beach view too. I love the interaction of sea and sky, and hence depicting skies is important to me in it many representations as it continually changes and is ever inspiring and a challenge to capture on canvas.

MH: I haven’t notice any specific changes to the coastline, apart from many more people using it for  swimming in. Maybe this is  a consequence of lockdown with folk having more time to enjoy the sea/coast  environment. I am not sure, but I became aware of it. The beauty and quiet of early sunny mornings make it a special experience, hence my appreciation of it too.

I have done Poppies on the coast themes in paintings and the depiction of the coast and fishing villages too. A topic that appeals to many and as you say to be cherished and respected more.

I have a collection of Photo art from this time that may be of interest for you to see in due course, as it was like a photo diary/blog of that challenging and unique time.

The Beggar’s Benison Club in the 21st Century

This blog post concerns sexually explicit content which potentially includes historical non-consensual sexual activity and images. Please proceed with caution. Resources can be found in the Resources tab of the exhibition microsite for anyone who is affected by these issues.   

Language used in these blogs refers to cis, heteronormative gender identities owing to the historical context of the Beggar’s Benison Club. Today, we are aware of and acknowledge a wider spectrum of gender identities. 

From 1732 to 1836, Anstruther in the East Neuk of Fife was home to the Beggar’s Benison Club. The secret all-male club was devoted to the idea of male sexual liberation. Members created symbolic sexual imagery and may have practised sexual rituals. Members also had interests in subversive politics and illegal smuggling.  

Today, the University of St Andrews has objects and archival material in its Collection which relate to the Club. The collection includes badges, sashes, seals, glasses, and a test platter used by Club members, with many being explicitly sexual in nature and often inscribed with sexual innuendos and phallic imagery.  

Wine Glass from the Beggar’s Benison Collection 
Wine Glass, 1732-1836, Courtesy of the University of St Andrews Libraries and Museums, ID: TEA-HC1064, © The University of St Andrews, CC BY-NC 4.0, 

This Collection is now being put on public display for the first time at the University in our exhibition Sex as Subversion, Fantasy and Power: The Beggar’s Benison Club at the Wardlaw Museum. 

The Exhibition displays the objects through a feminist lens, considering the actions of the Club under the three main themes of Subversion, Fantasy, and Power. For our exhibition team, this was an opportunity to explore and learn from the past, by using the actions of the Beggar’s Benison Club to reflect upon and discuss continued issues in society today. Curated by an all-women team, the Exhibition served as a platform from which to address consent, sexual identity and freedom, and gender equality. 

              In their devotion to all-male sexual liberation the Beggar’s Benison Club participated in many sexually-themed activities. One of the more shocking events was its hiring of ‘posture girls’, an activity that occurred on multiple occasions. Young women, between the ages of fifteen to nineteen were hired to display themselves naked for the members’ pleasure. While the men were not permitted to touch the young women, the action of viewing them is a very literal representation of the male gaze.  

             To this day, women, particularly young women and girls, are often sexualised, objectified and represented in the media through the male gaze.  


Wine Advert in Australia from 2008 
…or three or four, © Jes, CC BY-NC 2.0, 

Thanks to television and social media, objectification and gender stereotyping is happening on a global scale, with real world consequences. From a young age, girls absorb hypersexualised images of women which can impact mental health, including anxiety, depression and eating disorders. Young boys encounter these images too, which can lead to forming of stereotypical ideas of gender roles. These ideas often encourage dominance and aggressiveness in men, which increases risks of violence against women. These stereotypical ideas also cultivate a cultural narrative that women do not have autonomy over their own bodies, but in their dominant role men do.   

By displaying this Collection, the audience is prompted to consider the power dynamic that allowed the Beggar’s Benison Club to objectify young women and how this power dynamic still exists today. The exhibition also makes efforts to reclaim parts of the Beggar’s Benison’s legacy for women. Within the Collection only one object shows exclusively female genitalia, a seal with a heart surrounding a vagina. The seal alone is a strong representation of the Club’s possessive attitudes over women’s bodies. In keeping with the feminist theme, the seals design was chosen as the exhibition logo. This not only contrasts with the numerous phallic images in the exhibition, but also demonstrates how women can reclaim the image and use it to represent sexual empowerment.  

Exhibition Logo for Sex as Subversion, Fantasy, and Power: The Beggar’s Benison Club Exhibition Logo for Sex as Subversion, Fantasy, and Power: The Beggar’s Benison Club, © The University of St Andrews 

            The logo was also the key image used as a pattern for the first event of the Exhibition, an embroidery workshop, hosted on 8 March 2021. Non-coincidentally, the 8 March also marked International Women’s Day, an annual global day which celebrates the achievements of women and raises awareness for greater gender equality. The logo was embroidered alongside other images of women’s bodies to represent female reclamation of their own bodies.  Embroidery itself is part of a wider subversive stitch movement which continues the long legacy of women using needle and thread in protest and resistance. Many of the issues that the Beggar’s Benison Club raise in modern times are issues feminism is still fighting and therefore it is fitting to connect the exhibition to other feminist movements.  

Subversive Stitch: Embroidery Workshop Advert Image 
Subversive Stitch: Embroidery Workshop Advert, © The University of St Andrews 

          In viewing this exhibition, audiences will explore the Beggar’s Benison Collection but will also be confronted with the negative power dynamics and objectification that the Club subjected women to. These actions reflect what, over two hundred years later, is still occurring to women. However, today, women have a much stronger voice, proven by the widespread feminist movements to reclaim their power. Audiences should consider whether their daily actions are taking this power from women or placing the power back into their hands

This article was written by Sarah Takhar, Museum and Gallery Studies student 2020/21.

Further reading:

  • Stevenson, David, The Beggar’s Benison Club: Sex Clubs of Enlightened Scotland and their Rituals, 2001.   
  • Swift, J. and Gould, H, ‘Not an Object: On Sexualization and Exploitation of Women and Girls’, UNICEF USA, 2021. <>  

Highland Coos: Scotland’s favourite animal!

Highland cattle are extremely popular with tourists, especially this year, the Year of the Ox! Read more to find out what inspired us to include highland cow decorations in the offer for the new Wardlaw Museum shop! Patsy Ng is a volunteer with us here at the University Museums, a fan of highland cows Patsy has researched the fascination with them and has written this blog for us while based at home in Hong Kong due to Covid restrictions!

Highland Cow hanging decoration by Shed Heaven, image courtesy of the University of St Andrews Shop

But despite their recent popularity, highland cattle are not just a fad. They are the world’s oldest recognized cattle breed, with a herd book (a register of all the cattle of that breed) established by 1885.1, 2 It originally distinguished between two different strains of highland cattle – the small black island cattle, and the larger mainland cattle of myriad colours – but they have since been interbred so much that they are indistinguishable, from the highland cattle we know and love today.3

Girl milking cattle, Skye.,
Image courtesy of University of St Andrews Library and D. C. Thomson.,
Courtesy of the University of St Andrews Libraries and Museums, ID: RMA-H-5253

            However, a herd does not a herd book make. Evolution is a gradual process, and all our modern cattle are descended from aurochs – gigantic horned bovines that roamed Afroeurasia until they were hunted to extinction 400 years ago.4 They were domesticated in two separate events: one in India, producing indicine cattle, who have humps over their shoulders; and one in the Fertile Crescent, producing taurine cattle, who do not have humps, such as highland cattle.5

About 6000 years later, the domesticated aurochs had evolved enough to be recognisably modern cattle. Some taurine cattle had been brought to Britain by Neolithic farmers, and were being herded across the Scottish highlands by Bronze Age communities.6 As valuable sources of milk, meat, and textile material, cattle formed an important part of life in herding communities. People would live near their herds as they travelled to different pastures, and sometimes remained close to them in death.

When someone died, they would occasionally be buried with grave goods such as a cattle hide. The burials were not always the same, with some hides being used as rugs or wrappings, while others were used as pillows or blankets. Therefore, the significance of the cattle hides is not clear – they could be a way of showing respect to pillars of the community; a way of repelling evil spirits; a symbol of rebirth, the community, or animal power; a remnant of a feast or sacrifice; or they could simply be a funerary custom, like how people are often buried in coffins today.7 Nonetheless, communities must have had a reason for placing cattle hides so deliberately into the final resting places of their deceased, and their inclusion with the remains of loved ones speaks volumes about what cattle meant to the community and the individual.

The importance of cattle was not unique to the Bronze Age. Here in St Andrews, the Byre Theatre gets its name from its origins as a cow byre,8 and even though it has gone through two reconstructions since its first opening in 1933, the bones of those who once lived there rest under the floorboards.

In 1970, during the Byre Theatre’s first reconstruction, animal bones dating back to the medieval period were unearthed by an archaeological excavation, removed for examination, and subsequently lost. Reports were left unfinished, but some of the findings were discussed in Medieval St Andrews: Church, Cult, City, a book edited by Michael Brown and Katie Stevenson that will be available in our museum shop when we feature an exhibition on medieval St Andrews next year.9

The bones primarily came from cattle, sheep, goats, and pigs. They indicated that cattle were regularly raised to old adulthood instead of being slaughtered at a young age, suggesting that high quality hides that came from older cattle were desired more than the maximization of meat production. These hides could be processed and turned into materials like leather and parchment, which could then be used to make items like this catechism book from 1552.

Image of cover of The Chatecisme:
Image courtesy of University of St Andrews Library, Courtesy of the University of St Andrews Libraries and Museums, ID: TypBS.B52SH

Though cattle no longer roam the streets of St Andrews, there are still traces of them in our daily lives. From the milk in our cereal to the shoes on our feet, we are surrounded by reminders of how cattle are still just as important to us as they were to our ancestors 10,000 years ago. If these reminders are not enough, you could buy a mini highland cow from our shop, check out VisitScotland’s Coosday tag, or even go outside and find a real fold to watch – keeping a safe distance, of course. 


  1. “Breeds of Livestock – Highland Cattle.” Oklahoma State University, accessed April 8, 2021.
  2. “The Highland Cattle Breed.” Highland Cattle Society, accessed April 8, 2021.
  3. Same as Source 1.
  4. “Aurochs.” Harvard University, accessed May 1, 2021.
  5. Pitt, Daniel, Natalia Sevane, Ezequiel L Nicolazzi, Davide E MacHugh, Stephen D E Park, Licia Colli, Rodrigo Martinez, Machael W Bruford, Pablo Orozco-terWengel. “Domestication of cattle: Two or three events?.” Evolutionary Applications 12, no. 1 (July 23, 2018), pp. 123-136. doi: 10.1111/eva.12674.
  6. Lelong, Olivia, Iraia Arabaolaza, Thomas Booth, Jane Evans, Richard Evershed, Susanna Harris, Hege Hollund, Hege Hollund, B J Keely, Angela Lamb, M D Pickering, A P Pinder, Susan Ramsay, Penelope Rogers, Lucija Šoberl, Clare Wilson, and Lyn Wilson. 2015. “Wrappings of Power: A Woman’s Burial in Cattle Hide at Langwell Farm, Strath Oykel”. Proceedings of the Society of Antiquaries of Scotland 144 (November), 65-132.
  7. Same as above.
  8. “History.” University of St Andrews, accessed April 30, 2021.
  9. Hall, Derek W, Catherine Smith, ed. Michael Brown and Katie Stevenson. “The Archaeology of Medieval St Andrews.” Medieval St Andrews: Church, Cult, City, (Suffolk: Boydell Press, 2017), pp. 173-179. Google Books,
  10. Hamilton, John. Hamilton’s Catechisme, (St Andrews: John Scot, August 29, 1552). Special Collections,

The Secret History of the Beggar’s Benison Collection

(approx. 4 min read) 

Trigger Warning Disclaimers:  

This blog post concerns sexually explicit content which potentially includes historical non-consensual sexual activityPlease proceed with caution. Resources can be found in the Resources tab of this microsite for anyone who is affected by these issues.  

Language used in these blogs refers to cis, heteronormative gender identities owing to the historical context of the Beggar’s Benison Club. Today, we are aware of and acknowledge a wider spectrum of gender identities. 

From 1732 to 1836, Anstruther in the East Neuk of Fife was home to the Beggar’s Benison Club. The secret all-male club was devoted to the idea of male sexual liberation. Members created symbolic sexual imagery and may have practised sexual rituals. Members also had interests in subversive politics and illegal smuggling.  

From medals and seal matrices to phallus shaped drinking glasses, the Collection of the Beggar’s Benison has survived the 185 years since its disbandment in 1836, yet it has spent much of that time hidden.  

After 1836, the Collection was left in the hands of one of the last Club members, Matthew Foster Conolly.  Since then, the objects have passed through multiple hands. The Collection held at the Wardlaw Museum is likely only a fraction of what existed during the Club’s height. Even before the Beggar’s Benison disbanded, some of the records of the Club and its objects had already been lost.  

Throughout the life of the Collection, no one has really known what to do or make of it. Certainly, Conolly, who had control of the Collection for about forty years, appears to have been conflicted over whether to preserve or destroy it.  

His uncertainty around what to do with this Collection is somewhat understandable. For instance, on one hand, the Collection contains objects connected to illustrious figures in society at the time. Indeed, the Collection includes a snuff box that is thought to have been gifted to the Club by the then Prince Regent, the later King George IV, whilst visiting Scotland.  He is said to have been intrigued by the Club and was subsequently given an honorary membership. However, on the other hand these objects, due to the imagery displayed, form and function, after the Club’s decline leading to its eventual disbandment may have seemed less warrantable to preserve without its once captive audience.1 For instance, the snuff box is said to have once been filled with pubic hair belonging to the mistress of the then Prince Regent. 

The Prince Regent (later George IV) 
George IV (1762–1830) as Prince Regent, after Lawrence, Bequest of Collis P. Huntington, 1900, Open Access API, 

Indeed, the historian David Stevenson, who has written a book dedicated to the history of the Club, believes that Conolly’s eventual decision to preserve the Collection mostly probably came down to the fact that he was an avid local historian. However, it is clear this decision was not made without serious consideration, highlighted by the fact that he burnt many of the records, clearly intending to destroy them, but not before he partially copied many. He passed the Collection down to his son-in-law, a Reverend Gordon, on his death. 

Reverend Gordon believed that, despite its nature, the Collection was significant enough to warrant preservation.2 This is evidenced by the fact that after Gordon, the Collection passed to Mcnaught Campbell, who worked at the Kelvingrove Museum in Glasgow. Once in his possession, he loaned them to the Kelvingrove Museum who reportedly displayed some, yet not the more obscene, of the items that formed part of the Collection.  

The Kelvingrove Art Gallery and Museum, Glasgow  
The Kelvingrove Art Gallery and Museum (Glasgow), © Jean-Pierre Dalbéra, CC BY 2.0, 

The Collection later passed on again to a new owner who tried to sell the Collection to the National Museum of Antiquities of Scotland, now the National Museum of Scotland. The Museum seems to have considered purchasing them but instead chose to pass on the sale. The Collection, it seems, was too obscene for the Museum, making it difficult to display.3 

Eventually, after the death of its last owner, the Collection was donated to the University of St Andrews. For a long time, the Collection sat in the basement of the stores. A University Librarian left a note stating that the Collection “was not for female eyes.” In addition, the Collection was later covered with a sheet. The Collection has since been preserved in storage, deemed unfit for display.   

Now the Wardlaw Museum will publicly display the Collection for the first time as part of the exhibition Sex as Subversion, Fantasy, Power: The Beggar’s Benison Club.  The Exhibition will explore the hidden stories behind this controversial Club and its members. The Exhibition team, along with co-curators from our Advisory Panel, aims to highlight the issues and themes surrounding the Beggar’s Benison Club and its activities. 

In this Exhibition, we particularly wish to examine how the unequal balances of power wielded by the Beggar’s Benison Club relates to continuing issues surrounding sexuality and gender in today’s society. Certainly, this Collection, when explored in a sensitive, collaborative way, can highlight and spread awareness of issues related to sexuality, sexual injustice and gender discrimination. 

Written by Nicola Law, student in MLitt. Museum and Galleries Studies at the University of St Andrews

[1] Stevenson, Chapter Two 

[2] Stevenson, Chapter Two 

[3] Stevenson, Chapter Ten 

  • Stevenson, David, The Beggar’s Benison Club: Sex Clubs of Enlightened Scotland and their Rituals, 2001. 

Exploring Merryland: Fantasising About Sex

(6 minute read) 

Trigger Warning Disclaimers:  

This blog post concerns sexually explicit content which potentially includes historical non-consensual sexual activityPlease proceed with caution. Resources can be found in the Resources tab of this microsite for anyone who is affected by these issues.  

Language used in these blogs refers to cis, heteronormative gender identities owing to the historical context of the Beggar’s Benison Club. Today, we are aware of and acknowledge a wider spectrum of gender identities. 

From 1732 to 1836, Anstruther in the East Neuk of Fife was home to the Beggar’s Benison Club. The secret all-male club was devoted to the idea of male sexual liberation. Members created symbolic sexual imagery and may have practised sexual rituals. Members also had interests in subversive politics and illegal smuggling.  

Indeed, a central activity of the Beggar’s Benison Club was to fantasise about sexual exploits. This came in many forms, from conjuring grandiose origin myths, appropriating mythological and Biblical stories, to reading pornographic texts, and drinking toasts to genitalia. These ideas were essentially tied to sexual imagination as a way to satisfy male lust and fantasy. However, they also served a more practical purpose; to support the Club’s quest for sexual pleasure, to validate its rituals and to be ‘enjoyably ludicrous.’1 

It is important to note that here, in this context of the Beggar’s Benison Club, ‘fantasy’ is not associated with innocent, positive connotations. The ways in which Club members fantasised about sex were from a male perspective that was exploitative and misogynistic. These dynamics have not been explored in great detail thus far by historians, especially in terms of the impact and implications for the young women hired by the Club. We endeavour to explore these dynamics within this exhibition and investigate the unequal sexual power dynamics. 

Possibly the most important myth conjured by the Benison was that which explained the Club’s origins, ‘The King and the Beggar Maid.’ The folktale is attached to King James V of Scotland [1513-1542], who possessed hero-status according to the Benison, as he set an example of sexual licence within high society.  

James V 
James V, King of Scotland. Reigned 1513-1542. Father of Mary Queen of Scots. Wellcome Collection. Attribution 4.0 International (CC BY 4.0), 

While disguised as a commoner, James V visited the Dreel Burn, the river boundary between Anstruther Easter and Anstruther Wester in the East Neuk of Fife. He did not want to wet his feet crossing the water (the height of royal heroism); therefore, he received the help of a beggar maid to carry him across the water. As thanks, James gave her a gold coin and in return, the maid thanked him in the form of a blessing or ‘benison’. 

In this context, ‘benison’ is a colloquial term for sexual favours. Indeed, the Old Scots rhyme associated with the myth describes its sentiments towards wealth (the gold coin) and sex (the benison):  

May your purse naer be toom (never empty) 

And your horn aye in bloom. (always) 

The club also referred to the punchier, anglicised version as their toast and motto:  

May Prick nor Purse never fail you. 

The name of the Club was thus a most suitable title for their endeavours and desires. It references the Beggar Maid myth and its connotations of sex and money. Members idolised King James V as an archetypal figure of sexual fantasy and saw themselves in him; ‘for they too were rulers, by right of the phallus.’2 

Other fantastical origin myths for the Club go even further back than the reign of King James V. Club members metaphorically imagined that the Beggar’s Benison originated with the biblical Creation. This biblical reference can be found on one of the surviving Club medals within the exhibition, where a depiction of Adam and Eve is accompanied by the phrase ‘be fruitful and multiply.’ This coy play-on-words appropriates God’s directive to procreate, into such a meaning that justifies the Club’s desire for sexual pleasure. 

Even within a small town such as Anstruther, the Beggar’s Benison found ways to attach sexual innuendos to their surrounding environment. The Isle of May, off the coast of Anstruther and visible from its harbour, found its way into the Club’s imagination. Members speculated about sex-crazed monks that inhabited the island, taking it for granted that masturbation was a monastic speciality. The name ‘May’ also added to their fantasies as it bore a girl’s name and the month of May was associated with spring and fertility. 

 Isle of May 
Isle of May, © Jerzy Morkis, CC BY-SA 2.0, 

It must be reiterated that these sexual fantasies were conjured to satisfy only the male perspective. They were not simply cheerful, innocent imaginations of consensual sex. Indeed, Club members may have enabled and encouraged one another in their objectification and fantasising of the female body. As well as drunken songs, toasts and general debauchery, Club members would read and celebrate pornographic texts in order to satiate their male lust. In line with the Club’s love of sexual innuendo and double entendre, 1700s pornographic texts describe the female body through metaphor.  

In texts such as A New Description of Merryland, the notion of male sexual dominance is rampant. The author consistently highlights the imperfections of female genitalia while simultaneously praising his own penis. Female masturbation is considered abhorrent, yet male self-pleasure is considered natural and normal. The female body, denoted as ‘Merryland’, is a foreign country to be conquered as a man’s rightful territory.  

A New Description of Merryland 
A New Description of Merryland P.C.20.b.7.(1), title page, British Library, Public Domain, 

Other texts read by the Beggar’s Benison include Memoirs of a Woman of Pleasure by John Cleland, or more commonly known as Fanny Hill. The text describes Fanny, aged fourteen, as lewd, promiscuous and sexually insatiable, with a theme of shame which she should feel for her pleasures. Again, the double standards of celebrated male sexuality and shamed female sexuality is shown here, not to mention the shocking imbalance of power concerning the sexual relations between a fourteen-year-old girl and older men. We know that this text was read by the Benison on St Andrew’s Day in 1737, where ‘two nymphs’ of eighteen and nineteen years old exhibited themselves nude for the members.  

This act of hiring girls to pose naked will be explored in the ‘Subversive Sex’ and ‘Women of the Beggar’s Benison’ blogs. In this context, however, it shows us how Club members were obsessed with fantasising around the female body in male-dominant and misogynistic forms. This sexual imagination was compounded with the exploitative physical observation of naked young women.  

Written by Leonie Leeder, student in MLitt. Museum and Galleries Studies at the University of St Andrews


1 Stevenson, 14. 

1 Stevenson, 17. 

  • Dubois, Sharon O’Toole, ‘Merryland: Gender and Power in an Eighteenth Century Pornotopia’, Utopian Studies, 11:2 (2000). 
  • Lord, Evelyn, The Hell Fire Clubs: Sex, Satanism and Secret Societies, 2008. 
  • Peakman, Julie, Lascivious Bodies: A Sexual History of the Eighteenth Century, 2004. 
  • Stevenson, David, The Beggar’s Benison Club: Sex Clubs of Enlightened Scotland and their Rituals, 2001. 
  • Stretzer, Thomas (pseudonym Roger Phequewell), A New Description of Merryland: Containing a Topographical, Geographical and Natural History of that Country, 10th ed, 1742. 

Subversive Sex

(Approx. 3 minute Read) 

Trigger Warning Disclaimers:  

This blog post concerns sexually explicit content which potentially includes historical non-consensual sexual activity and images. Please proceed with caution. Resources can be found in the Resources tab of this microsite for anyone who is affected by these issues.  

Language used in these blogs refers to cis, heteronormative gender identities owing to the historical context of the Beggar’s Benison Club. Today, we are aware of and acknowledge a wider spectrum of gender identities. 

From 1732 to 1836, Anstruther in the East Neuk of Fife was home to the Beggar’s Benison Club. The secret all-male club was devoted to the idea of male sexual liberation. Members created symbolic sexual imagery and may have practised sexual rituals. Members also had interests in subversive politics and illegal smuggling.  

The Exhibition Sex as Subversion, Fantasy and Power: The Beggar’s Benison Club at the Wardlaw Museum aims to explore this Club and its Collection through the three central themes of Subversion, Fantasy, and Power.  

Taken at face value, the objects from the Collection displayed within this Exhibition will likely elicit shocked gasps and exclamations, especially due to their appearance with many featuring phallic imagery. Certainly, as is explored in our ‘The Secret History of the Collection’ blog, these objects have been left undisturbed in storage since the mid-1800s as they were simply deemed too obscene to show to the public.  However, the Club’s fascination and celebration of sex must not be misunderstood and dismissed as merely raunchy. The Club used the idea of sex to be politically subversive, to fantasise about male dominated sexual exploits, and to exhibit power over women. This blog will briefly discuss the subversive nature of the Club’s relationship with sex, which is reflected by the objects from the Collection and the activities of the Club. 

Indeed, the surviving relics of, and records belonging to, the Club explicitly highlight their members’ convivial advocation of male sexual freedom. They emphasise the Club’s belief that sex should be enjoyed for pleasure, which at the time was extremely subversive, rebelling against the widespread belief in the 1700s that sex should be purely for procreation.   For instance, the records belonging to the Club, which will be presented as part of our online exhibition, describe a version of the initiation ceremony in explicit detail. From these we learn that new initiates to the Beggar’s Benison Club were required to demonstrate their ability to perform sexually. This included exhibiting his phallus to his fellow members-to-be, masturbating in front of existing members, and sometimes masturbating together as a sociable activity.  

The novice (prospective member) would be ‘prepared’ in a closet in which two members would ‘[cause] him to propel his Penis until full erection.’ Coming out of the closet (an interesting choice of words given the Club’s disapproval of homosexuality, as shall be explored in later blogs), the initiate was greeted by existing members who wore sashes and medals in full fanfare. He was required to place his phallus upon the Test Platter to demonstrate his ability to perform sexually.  

Test Platter from the Beggar’s Benison Collection 
Test Platter, 1783-1836, Courtesy of the University of St Andrews Libraries and Museums, ID: TEA-HC1072, © The University of St Andrews, CC BY-NC 4.0, 

This action was accompanied by ‘four puffs of the Breath Horn’ to simulate ejaculation. The records then note ‘The Members and Knights two and two came round in a state of erection and touched the novice Penis to Penis.’  

 Breath Horn from the Beggar’s Benison Collection 
Breath Horn, 1732-1836, Courtesy of the University of St Andrews Libraries and Museums, ID: TEA-HC1062, © The University of St Andrews, CC BY-NC 4.0, 

A wine glass displaying the Club’s motif was then used to drink a toast to the new member, who was bestowed with his own sash and medal. The ceremony was thus concluded by reciting the Club’s motto: ‘May Prick nor Purse never fail you.’  

Wine Glass from the Beggar’s Benison Collection 
Wine Glass, 1732-1836, Courtesy of the University of St Andrews Libraries and Museums, ID: TEA-HC1064, © The University of St Andrews, CC BY-NC 4.0, 

This ritual was inspired by the founding myth of the Club. According to this, in the mid-16th century, King James V travelled around Scotland pretending to be a common subject. He acquainted himself with his subjects in this way. In Anstruther, he met a maid whom he offered a golden coin for carrying him across a stream. In turn, she thanked him with a ‘benison’, a slang term for sexual favours.   

Another activity adopted by the Club in the 1700s was to add pubic hairs of mistresses to a wig. Specifically, the mistresses of King Charles II (1660-1685). The King offered it to his friend and Club member, the Earl of Moray. Later Minutes of the Club confirm in 1775 that new members must kiss the wig and wear it during their initiation ceremony. The collection and use of pubic hair in this way is an example of how these sex clubs attempted to objectify, possess and control the female body. It was an act to wield power over women through somber mockery.  

Initiation rituals were adopted by the Club to legitimize their male sexual activity and advocation of male sexual pleasure. They served to prove a potential member’s ‘manhood’ and sexual capability. Both these criteria were essential to be accepted into the Club.  

However, discretion had to be taken to ensure such interests did not cause public scandal, as such sexual conduct went against the moral and ethical teachings of the Church and State. Hence, the secrecy that surrounded the Club. As the historian David Stevenson, who has written a history of the Club, puts it, the Club’s activities had ‘the spice of being naughtily outrageous’.  

Indeed, throughout the 1500s and 1600s, there was a rise in religiously inspired sexual repression, where sex for anything other than procreating was strictly prohibited. Until the end of the 1700s, a strong taboo surrounded masturbation. This theme will be explored in a later blog, ‘Sex as Science’.   

The Age of Enlightenment in the 1700s and 1800s was important for developing new ways of thinking about sexual liberation (for heteronormative men). The Enlightenment was an intellectual and philosophical revolution where scientific inquiry was favoured over religious faith. The idea of sexual freedoms and sex as pleasure fitted perfectly into progressive thinking at this time. As such, the attitudes of the Beggar’s Benison Club toward sex align with this wider movement. 

Fast forward to the present day, it is interesting to think that whilst the Beggar’s Benison Club was sexually subversive during the 1700s and 1800s, the Collection of the Club was still deemed to be too subversive and obscene to display until very recently. Indeed, our Exhibition Sex as Subversion, Fantasy and Power: The Beggar’s Benison Club at the Wardlaw Museum will be one of the first bold public displays of the Collection at the University. The exhibition aims to explore the theme of subversion further, and deconstruct and discuss the taboos surrounding the Club. Certainly, this chapter in Fife history and display of sexuality and sexual freedom, can also help us to explore and discuss issues relating to sexuality and sexual freedom ongoing today.    

Written by Leonie Leeder, student in MLitt. Museum and Galleries Studies at the University of St Andrews


  • Peakman, Julie, Lascivious Bodies: A Sexual History of the Eighteen Century, 2005 
  • Stevenson, David, The Beggar’s Benison Club: Sex Clubs of Enlightened Scotland and their Rituals, 2001 


Scotsmanless Scarf designed by Atelier, E.B, EDINBURGH, ©Atelier E.B, Courtesy of the University of St Andrews Libraries and Museums, ID: HC2018.17

The Scotsmanless scarf is a remarkably concise object. Fabricated out of supple grey and black lambswool, the piece features the historical masthead of The Scotsman newspaper reimagined in the form of a football scarf. The graphic simplicity of the pattern, inverted from recto to verso, resembles in no small measure the contrastive black-and-white layout characteristic of historical newspaper printing. The Scotsman was founded in the early 19th century as a radical liberal paper that set itself against what it regarded as privilege and corruption. Broadly supportive of parliamentary reform, regional self-determination, and transparency, the newspaper grew increasingly prominent in the decades that followed and eventually came to occupy an iconic Edwardian building in central Edinburgh.

The history of the newspaper serves as a kind of shorthand for broader changes wrought by economic modernisation over the course of the 20th century, not only to once-thriving Scottish industries but also to a broader marketplace of information. Over the course of the 19th century the paper—a longstanding voice of Scottish political liberalism—was quick to adopt new technical innovations such as the electric telegraph in 1866 and the use of a rotary printing press in 1872. More recently, this has included the decline of hot metal typesetting and attendant introduction of computers into the production process in 1987, followed by the launch of a website in 1999. The significant contraction of print media in subsequent decades has seen The Scotsman’s geographic displacement from the centre of Edinburgh and its material downscaling from a broadsheet to a compact tabloid size whose smaller format is better suited to use by commuters. It is tempting to read these forms of contraction and displacement as emblematic of broader decline in the power of prestige print media and of traditional regional information ecosystems. The original remit of The Scotsman had been to expose local forms of corruption and malpractice; it seems deeply suggestive that the paper’s subsequent headquarters in Holyrood Road were recently taken over by a Scottish video game maker, which trades in highly immersive, fictive digital media environments.

Design for ‘Scotsmanless Scarf’, Atelier E. B, EDINBURGH (Designed by), ©Atelier E.B, Courtesy of the University of St Andrews Libraries and Museums, ID: HC2018.20(9)

Of course, the text of the paper’s name is conspicuously missing from the masthead in Scotsmanless. Instead, the motif frames the subtly variegated fabric of the lambswool itself. Here another history comes into view: that of the weaving industry that thrived in mid-19th century Scotland. The scarf was made in collaboration with Begg x Co, which, like The Scotsman, dates to the 19th century. And, like the paper whose masthead it partially reproduces, the scarf is very much a product of regional Scottish histories of labour and technology. The company was founded by Alex Begg in 1866 in Paisley. The Scottish town was the centre of the weaving industry in Victorian Britain and was famed for its production of textiles bearing the Persian and Indian teardrop motif now synonymous in the English-speaking world with its name. In the early 19th century, highly skilled Paisley weavers were known for their political radicalism and their influential support of reform during the economic downturn that followed the Napoleonic Wars. The weaving industry was also notable for its inclusion of women, who had traditionally done a great deal of spinning and who made up more than half of the industrial cloth production workforce by the middle of the century. The Scottish textile industry was — and still is — particularly vulnerable to shifts in consumer behaviour and international supply chains. By the time Begg x Co was founded, many of Paisley’s mills had already gone bankrupt in response to both the economic crises of the 1840’s and the later disruption of the cotton supply brought about by the American Civil War in the 1860’s. The company relocated to Ayr on the west coast in 1902 and the last of the Paisley mills closed in 1933.

To an extent, then, the Scotsmanless scarf is a product of two of the foremost industries of 19th century Scotland, industries particularly embedded within a tradition of radical progressive politics. Animated by steam-powered rotaries, the printing press and the power loom were agents of economic modernisation and political reform that were deeply rooted in Scottish regionalism. Rather than read Scotsmanless as a eulogy for these industries, though, we might think about how their histories are revived and refashioned into a new kind of living object. The piece remains a product of highly skilled Scottish labour but one whose mobility and mutability can accommodate a much more diverse set of identities and lived practices.

Author Details:

Stephanie O’Rourke is a lecturer in art history at the University of St Andrews. Her research focuses on 18th- and 19th-century European visual culture, particularly in relation to scientific knowledge, spectatorship, and media technologies.

Doug Cocker’s Rotterdam

Rotterdam, Doug Cocker, Hollow L-shaped wall-mounted sculpture made of mulberry and yew wood and depicting the distinctive qualities of the port of Rotterdam, HC2017.2, ©Doug Cocker

Doug Cocker’s Rotterdam belongs to a body of work that the artist created between 2004 and 2006. In 2004 he successfully applied for a major award from Creative Scotland, with a proposal to visit cities that he had never previously visited and which were linked by the North Sea, with the objective to create works inspired by the spirit of each place. Over the following months, Cocker travelled to Copenhagen, Hamburg and Rotterdam.

In Copenhagen, he was struck by the hand-wrought nature of the architecture and the extent to which the built environment is punctuated by numerous towers and spires.

In Hamburg, his attention was drawn to how the city’s footprint is determined by two sizeable bodies of water, the Aubenalster and the Binnenalster, which are connected by a narrow waterway.

In Rotterdam, meanwhile, it was the sheer magnitude of the port that inspired Cocker, extending as it does for forty-two kilometres inland. Perhaps unsurprisingly, he was drawn to the towering verticality and gigantism of the docks’ infrastructure.[i]

On his return to his studio in rural Angus, Cocker developed his impressions of these three port cities in drawings, etchings and small-scale models. Later, he embarked on a number of large-scale sculptures in timber. In each of these media, sinewy, hard-edged forms predominate, some loosely reminiscent of the angular shapes of buildings silhouetted against low, maritime horizons, others suggestive of the diagrammatic line of a watercourse as it might appear on a map.

Cocker, however, operates at a high level of abstraction, and the viewer who is intent on identifying detailed, recognisable motifs within these works is likely to be disappointed. It is considerably more helpful to regard these visits as his creative catalysts, stimulating him to introduce new themes and shapes into his already-rich, form-making repertoire.

Cocker is a sculptor who frequently seeks inspiration from specific topographies. In the years preceding his 2004 travels, he undertook similar trips to County Mayo in Ireland and to Malta, journeys which, in both instances, generated new bodies of work.

He also created multi-part relief works with titles such as Landsongs, Fast Horizons, and Travelled Landscapes, which writers justifiably associate with the undulating fields and farmlands of Tayside, where he was brought up, and where he has chosen to make his home.[ii]

The serial format of these abstract sculptures encourages viewers to notice small variations in the compositions, and to interpret their rhythmic modifications as reflective of the ever-changing play that weather, mood and point of view have on our impressions of a place.

There is, however, no poetics of locality of the kind that Cocker explores without an attendant investment in travel. Only by actually being in a topography and moving through it can anyone experience place as an enveloping presence, and only by passing onwards is it possible to become receptive to changes in the character and ambience of different surroundings.

While the works comprising Cocker’s ‘Nouns of Europe’ series are about places, they also invoke an associated interest in movement and connection. Rotterdam is no exception.

Rotterdam is currently installed in a stairwell in the School of Art History building on North Street, and is over two metres high, looming well above anyone who is passing from one storey to the next. As you ascend from the building’s ground level it looms suddenly into view, and feels disproportionately large, which is in keeping with Cocker’s intent on conveying the industrial gigantism that is to be seen in this major port.

It’s also worth remembering that Rotterdam’s docks are an international transportation hub, connected by water to hundreds of other harbours around the globe. And this linear work, which loosely resembles a giant L-shape, also strongly implies a sense of directionality, as if marking a definite course between points.

There is another dimension to Rotterdam, though, which is unmissable to anyone who pays the work even a passing glance. Rotterdam is constructed from tree boughs, and Cocker preserves in the finished piece the bulbous, undulating, curving surfaces of the stout branches from which it was sawn. The prominent lower, right-angle bend is, for instance, the crook of a limb.

But if you pay the work further attention you soon notice that Rotterdam is not exactly a found form, and that the timber has been substantially worked. The bark and pithy outer layers have been filed down and abraded before being sanded over, fissures have been filled with epoxy, a small wedge extends from a knothole plug in the lower, horizontal section. There are also visible saw lines running the length of the branches from top to bottom. If you stand at right angles, you also notice that a square channel appears to be gouged into the wood, implying that the branches are at least partially hollow.

I discussed the construction process with Cocker and was surprised to learn how elaborate the procedure had been.[iii] He told me that the timber derived from two sources. He had been approached by a farmer who owned a field near Coupar Angus which had a row of damson trees running along the banks of a burn on one side. In 2004, several had blown down in a gale, and were blocking the water’s passage. In exchange for clearing up the banks and restoring the stream’s path, the farmer invited Cocker to take the timber.

Damson wood is not commonly worked and is seldom commercially available. But it is prized by woodturners for its deep rich tones, which we see in the upper section of the work’s vertical element.

The lower segment of the sculpture, however, derives from an entirely different tree. It is formed from a mature yew branch, which was also locally sourced, although this time from trees that were felled on the Murthly Estate in Perthshire and were subsequently made available for Cocker to use.

Although the tonality of seasoned yew happens to be relatively similar to damson, it is a demanding and very different type of wood with which to work. Yew is identified by the dramatic colour differentiation between the light orangey sapwood and the dark heartwood and it is this that gives the lower lengths of Rotterdam its unusual pied tones and its distinctive protuberances.

Cocker identified a branch that also included a small perpendicular bend, and which matched the thickness of the damson, and carefully jointed the two limbs together securely. Once you know to look out for it, the juncture is clearly visible in the finished work, and the more you study the intersection, the more vivid the differences in the qualities of the species appear, with the damson’s dynamic, swirling grain contrastingly offset against the more placid yew.

To secure this joint mechanically, Cocker made some labour-intensive interventions into both branches of wood. He cut both the damson and the yew lengthwise, carefully feeding them through his bandsaw. Given their awkward dimensions, this can hardly have been a straightforward operation. Then he sliced a long central groove down their now-exposed inner, flat sides, extracting much of the heartwood, and enabling him to insert long, loose tenons into the cavity. Then he glued up and reassembled the branches into their current configuration, ensuring that a concealed length of timber linked both damson and yew.

These details about the source of Rotterdam’s materials, as well as Cocker’s account of the construction process, provide a somewhat different perspective on the sculpture. We see it now in terms of his sculptural practice, involving, as it does, his close engagement with workers on local farms and estates, and as the outcome of a sequence of time-consuming and technical workshop procedures.

As an artist, Cocker is widely admired for his skills in using wood (although he is careful to avoid the impression that his objective is to draw out the inherent beauty of his materials). Learning of the wood’s origins, and thinking of the sculptor in his Angus studio, confirms our impression that Rotterdam derives from the rural Scottish landscape in a tangible sense, and makes it a sculpture about a very different place to that which it is representing.

It is perhaps disjuncture – between geographies, between the wood as a material and the urban, industrial themes it is symbolizing, and between the two timbers themselves – that makes Rotterdam such a compelling and hybrid work.

Places, after all, are connected to one another. We pass between them, and we link them up in our lives in order to make sense of who we are. The damson and the yew grow apart, but here their branches have been cut and aligned, and Rotterdam is not Scotland, although the sea that fills its docks also washes against these shores.

[i] Doug Cocker, Artist’s statement, in ‘Nouns of Europe’, exhibition pamphlet, White Space, University of Abertay Dundee, 2008.

[ii] For a discussion of these works, see the essays by Robin H. Rodger and Finlay Coupar in Leaving Jericho: New Work in Response to Scottish Landscape & Language, Doug Cocker & Arthur Watson, exhibition catalogue, John David Mooney Foundation, Chicago 2013, pp. 37 and 39.

[iii] Doug Cocker, telephone conversation with the Author, 2 October 2020.

Author Details:

Alistair Rider is Senior Lecturer in the School of Art History. He writes about modern and contemporary sculpture, and about art making as a social practice. He is currently preparing a study on long-term artists’ projects since the 1960s.

An Interview with Barbara Rae

Achill Beach, Barbara Rae CBE RA FRSE, HC2013.60, ©Barbara Rae

In 2020, Clare Fisher, research fellow at the University of St Andrews has been focusing on the Harry and Margery Boswell Collection. Some of this work has included conducting interviews with some of the well known Scottish contemporary artists who have works in the collection. A number of the works are by Barbara Rae CBE RA FRSE. Here’s what she had to say about her work!

A number of your works in the Boswell Collection reference places in Ireland. What is the personal significance of these places?

BR: The Celtic culture, the archaeology, pre-modern and contemporary history of the Ireland is fascinating. The people are the dividend, their sense of community, and their intimate knowledge of their heritage. I have travelled to the West of Ireland for twenty years now because there is always something new to discover.

In the past you’ve spoken about the importance of becoming familiar with a setting and gaining an insight into its history. How does this influence your practice?

An artist has to know what it is they are painting. Research is the key. They have to have an intimate knowledge of their matter. My inspiration is socio-political; I record the passage of time. I refine and refine. To do that, I visit a place for weeks sketching and taking notes, and only later – sometimes years – begin creating paintings or prints in my studio from the sketches.

When you look back on your works do they conjure memories of the particular place they relate to?

Sometimes I look at past work and think of revisiting the place, to see what changes there have been since last there. I visit a place many times, for example, I visited the Arctic four times, each time seeing something new. The time frame is important to me.

Are there any artworks or artists that have had a significant influence on your practice? Can you see this influence in any of the works in the Boswell Collection?

There are a few notable painters – mostly Spanish – who have relevance to what I do, but I have never absorbed their work to the point my output is influenced in any way. I evolved my own ‘style’ of expression and techniques from early art school days, developing them endlessly, which is probably why I have never seen any artist of distinction do what I do.

You have mentioned before that you are drawn to places ‘where people have intruded on the landscape’ (2007). Has the current climate crisis had an impact on how you approach subject matter?

Yes, of course. I am forced to cancel trips to far off places. There are a dozen places I want to visit but cannot because modes of transportation are extremely limited in the pandemic. For example, I cannot get back to Ireland unless I quarantine for two weeks.

Have you ever felt compelled to do some work on the landscape and seascapes of St Andrews?

I am not a landscape artist. Topography is not the attraction; people and the history of the location is the motivation. Also, I prefer the distinctive quality light of the west coast, its sharpness and drama, superior to the east coast.

How big a part does the viewer’s reaction to your art play in the making of it?

None at all. An artist would never lift a brush or open a tube of paint if worried about

what the public thought of the end result.

Strong horizons and horizontals are dominant in many of your works in the Boswell Collection (e.g. Moy Bank, Sea Gate, Dead Sunflowers). What is it about this axis that you find so appealing?

It all depends on the subject – if painting Leith Docks there would be no horizon, and in fact there is none in quite a few others.

Do you use colour for symbolic meaning in your work?


The majority of your works in the Boswell Collection are silkscreen prints, what is it about this method that you are drawn to?

I don’t like ‘screenprints’ because if not handled correctly the outcome can be flat, poster-like. The process is difficult to achieve the perfection I need because it’s a multilayered process. Often I layer anything from 30 to 60 different colours to achieve the print image I want. Other printmaking techniques, such as collagraph and etching, are much more forgiving for creating surface and texture. For all I try to create what is in my imagination, I welcome dissonance, that is, unpredictable results.

Dr Barbara Rae CBE RSA RE

J.M Barrie: Stories of Courage

Bronze statue of Peter Pan created by Sir George Frampton, HC801, image courtesy of the University of St Andrews Libraries and Museums

Since World Book Day is near, we thought we’d write about a certain Scottish Novelist and Playwright who has a strong connection with a small bronze statue in our collection, a famous arctic explorer, and stories of courage.

The writer in question is Sir James Matthew Barrie (1860-1937), who grew up in Scotland and worked in London, and is best known for creating the character of Peter Pan. His full play was titled Peter Pan: A Boy Who Wouldn’t Grow Up and was written in 1904 and later adapted into a novel in 1911. In the story, the main character is a magical boy who can fly and never grows up. Peter Pan perfectly encapsulates what it is like to be a child – the world is stuffed full of adventures to be had, and there are many dangers too which can be overcome only if you have the courage to face it.

When the Wardlaw Museum opens, Visitors will be able to see a statue of Peter Pan in our collection sculpted by Sir George Frampton. The statue was presented to the female students of University Hall by J.M. Barrie in 1922, and it was originally placed outside University Hall before becoming part of the Museum collections. At the time when the statue was placed, University Hall had been open since 1895 and was the first all-girls student accommodation in Scotland. The statue was very a popular feature within University Hall which for some has been sad to see it moved from it’s former home but it is hoped that being part of the exhibitions in the newly refurbished museum will allow many more to enjoy seeing this beautiful sculpture.

J. M. Barrie (as Hook) and Michael (as Peter Pan) on the lawn at Rustington, August 1906, Wikimediacommons

Peter Pan is indeed a much-loved literary character, and there are  multiple statues of Peter Pan which can be found across the world. Our statue is a smaller version of one which was placed in Kensington Gardens in London. The Kensington Gardens statue is particularly magical because it appeared overnight in May 1912, and no one knew how it got there or who placed it there. The statue of Peter was supposed to be modelled upon photographs of Michael dressed as Peter Pan. However, in the end a different child was used as a model for the sculpture, leaving Barrie disappointed with the result, believing “It doesn’t show the devil in Peter”.

During his life, J.M. Barrie was Rector of the University of St Andrews from 1919 to 1922. Although an acclaimed author, J.M. Barrie was terrified of giving his rectorial address, and put it off for a while because he was uncomfortable with public speaking, stating in his address ‘This is my first and last public appearance’. He was friends with the famous explorer Captain Robert Falcon Scott and was godfather to Scott’s son Peter. Barrie spoke about this friendship and was touched by Scott’s bravery and courage which he possessed to the end, and his refusal to give up hope. They were such close friends that Barrie was one of the seven people whom Scott wrote letters to shortly before passing away from hypothermia during his ill-fated Terra-Nova Antarctic expedition (1910-13), asking Barrie to take care of his wife Kathleen and son Peter.

JM Barrie Rectorial Address 1922
J.M. Barrie, Rector at the University of St Andrews in 1922, Image courtesy of the University of St Andrews Libraries and Museums

As part of the role of being Rector, a rectorial address must be given. When Barrie gave his address on the 3rd May 1922, he gave it with a small fold of paper in his breast pocket. It was a letter from  Captain Scott which spoke partly of Scott and his men singing and laughing cheerfully in their tent despite the sad situation they were in due to the unrelenting bad weather outside.

“. . . We are in a desperate state–feet frozen, etc., no fuel, and a long way from food, but it would do your heart good to be in our tent, to hear our songs and our cheery conversation”.

 It turned out to be some of Captain Scott and his men’s final hours, and the letter was amongst the last he ever wrote. When Barrie died years later, the letter from Scott was still in his breast pocket.

Often, when we tell stories about successful people and their achievements (whether they be academic, or heroic acts of courage) it is easy to forget that the people we are talking about are human. It is easy to forget that they get scared, that they have fears and doubts. I am sure that Captain Scott and his men were very scared in their tent, and that J.M. Barrie was very very scared of giving his rectorial address. But what makes them brave is that they managed to act despite their fears, it is this which transforms them (and anyone who can face their fears) into heroes. Captain Scott and his men had courage to stay hopeful and cheery to the end, which in turn inspired J.M. Barrie to face his fear of public speaking and commit his own act of courage and in turn inspire others.

 Such stories of courage are valuable in times like these, where each of us must have courage to help others as much as we can, and the courage to maintain the hope that there are better days ahead.

There are a great many courageous characters to be found in the pages of books. Indeed, in Peter Pan, Peter has the courage to face the fearsome Captain Hook and all his pirates, and the children have the courage to make the journey to Neverland where they have many magical adventures.

 We will end on the following quote from J.M. Barrie’s Peter Pan which discusses bravery:

“There are many different kinds of bravery. There’s the bravery of thinking of others before oneself. Now, your father has never brandished a sword nor fired a pistol, thank heavens. But he has made many sacrifices for his family, and put away many dreams.

Michael: Where did he put them?

Mrs. Darling: He put them in a drawer. And sometimes, late at night, we take them out and admire them. But it gets harder and harder to close the drawer… He does. And that is why he is brave.”

We are very grateful to our student volunteer bloggers who help us to produce the content for our museums blog! This blog was written by Kat McLaren currently studying for an MLitt in Museum and Galleries Studies at the University of St Andrews. Kat was really inspired by Barrie’s rectorial address from 1922 on courage and maybe you will too! Wishing you all a very happy World Book Day from all of us at the University of St Andrews Museums!