A previous blog post looked at the ‘up-cycling’ of the press that printed Burns’s first collection of Poems Chiefly in the Scottish Dialect also known as the Kilmarnock Edition. The repurposing of the press happened in 1858 and it was turned into an arm chair. The chair became an ornamental and useful piece of fine oak furnature, that was a souvenir or relic of Burns’s inaugural work.
This is not only one example of creating souvenirs or relics relating to Burns’s work and life from materials which are linked to aspects of his fame and life. At the Robert Burns Birthplace Museum and Bachelors Club, Tarbolton there is an amazing array of material! This blog post will look at a few highlights in the collection.
From the passing of Robert Burns on the 21st of July 1796 at the age of 37 people wanted to own a piece of the man! Over the years after his death the “Burnsiana” grew and developed, the collection of Burns souvenirs is broad and includes material that has been up-cycled from other objects or materials include pieces of Burns Trysting tree made into collectables, hair jewellery made with pieces of Jean Armour’s hair and pieces of Burns’s kist/coffin.
An interesting item in the museum collection is a necklace that is in the Fame section of the museum display. The necklace has 40 wooden beads and a wooden cross at the front with metal embellishments. It is 54cm long and the wood used in the necklace was taken from the Auld Alloway Kirk, just a short walk from Burns Cottage and next to the Burns Monument.
Alloway Kirk is a ruined church, which was built about 1516. By the time Burns wrote Tam O’Shanter the Kirk was in ruins. It had not been used for several decades and was in a ruinous state.
There is little information within the object record other than that the necklace is dated to 1822 – which dates to when Burns Cottage was under the tenancy of John Gaudie, and when the Burns Monument was under construction.
Other unique wooden souvenirs in the collection include a Pipe Case reportedly made from part of Burns’s Kist (3.4572), this is not unusual in the sense that it is connected with Burns’s burial – with the acquisition dated to 1834, below is an image of a piece of wood taken from Burns’s coffin when his tomb was opened so that Jean could be buried alongside him.
As with many souvenirs or relics the authenticity of the object is unclear – in this case eyewitness accounts state that the coffin was intact.
Wooden souvenirs with a direct connection to Burns’s life, made from the wood of trees grown on the banks of the Doon or, in this case, from the rafters of Alloway Auld Kirk, were highly sought after by Burns enthusiasts and general Victorian collectors.
In the 19th century there was a real interest in relic collecting relating to contemporary Poets – for instance at Keats House, Hampstead has in the collection a Gold Broach with some of Keats’s hair displayed in it, c.1822 (K/AR/01/002); another relic kept by the British Library is Percy Shelley’s ashes set inside the back cover of the book Percy Bysshe Shelley, His Last Days Told by His wife, with Locks of Hair and Some of the Poets Ashes (MS 5022).
At RBBM we have a lock of our Poet’s hair which is said to have been snipped from Robert’s head shortly after his death by his wife, Jean Armour, and given to her friend Jean Wilson in Mauchline as a macabre souvenir.
The world of Burns souvenirs and relics is vast and this only highlights some of the more unique… and interesting aspects of Burnsiana!
 Mackay,.J.A Burnsiana (1988)
 Lutz,.D Relics of Death in Victorian Literature and Culture (2015).
by Catriona, Learning Intern