Kilmarnock Edition

A day in the life of a museum curator

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We were sad to say goodbye to our Curator, Sean, last week as he retired from the Robert Burns Birthplace Museum to spend more time on his art and in his garden! We did manage to persuade him to write a quick blog post before he left, looking back on his time as curator here… we would like to wish him all the best in his retirement, and thank him for all his hard work at the Robert Burns Birthplace Museum over the years.

From September 2014 until January 2018, I was curator at the Robert Burns Birthplace Museum in Alloway, part of the National Trust for Scotland.

Some people ask “what does a curator do?” Every post is different. I was curator of contemporary and modern art for Glasgow Museums from 1999 until 2014. It was a similar job but had many differences too. In many ways it was a faster pace at GoMA with much larger gallery spaces and constantly changing displays of collections and loans. 

Here at RBBM one of the main things I do is type as I am now. That was true of GoMA too and I suppose most jobs now. Other things I do besides typing include giving tours of the museum, surrounding sites and the stores. This is one of my favourite things to do and most visitors interested in Burns enjoy it. I enjoy conveying my love of Burns and knowledge of the collection. I am new to Burns and only started studying him when I started this job, I was hired for my ‘museum experience’. But I was pleasantly surprised to find I really like Burns as a subject. I enjoy his mind through his letters, poems and songs. He was both talented and humane. It is quite thrilling to hold original letters and manuscripts that he wrote or objects he owned. I will miss this aspect of the job, but of course, anyone anywhere can read Burns. That is one of the perks of writing, it is easily dispersed.  

A picture of the Kilmarnock edition and electronic facsimile we have in our collection
The Kilmarnock edition and facsimile in our collection…

I also had the responsibility here of planning and running three or four temporary exhibitions a year in the gallery space. This could be quite a challenge with little funds. I think my favourites were the Sharmanka show and Burns Squared.  

I also answer lots of enquiries from around the world. This is the largest collection of Burns objects in the world – over 300 rare books and 312 original manuscripts by Burns himself. I am only now beginning to comprehend and understand the collection. Collections are only as good as the caretakers who speak for them and love them and this knowledge takes time. Without this knowledge and passion collections become mute objects. 

Probably one of my favourite objects in the collection is Robert’s writing set. 

Robert Burns writing set including sharpening knives and quills
Robert Burns’s writing set

These pens are much mightier than the sword!




The Kilmarnock Edition

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The following blog post was written by RBBM’s Learning Officer as a guest blog for Museums Galleries Scotland –

Blog post 1

Few objects associated with Robert Burns are as well-known, or as instrumental to his fame, as the ‘Kilmarnock Edition’. Published on the 31st July 1786 by John Wilson of Kilmarnock, Poems, Chiefly in the Scottish Dialect was the first volume of poetry and song to be written by the man who was to later become Scotland’s National Bard. Containing some of his best-loved works including Tae a Mouse, The Cotter’s Saturday Night and The Holy Fair, it is one of the items in the Robert Burns Birthplace Museum’s collection treasured most by both staff and visitors.

Blog post 2

The Robert Burns Birthplace Museum (RBBM) is based in Alloway, South Ayrshire and is run by the National Trust for Scotland. The site consists of the Birthplace Cottage; Alloway Auld Kirk and the Brig o’ Doon (both of Tam o’ Shanter fame); Burns Monument and gardens; and of course the museum itself. The site is one of three in the ‘Burns Group’, also comprising of the Bachelors’ Club where the young Robert set up his own debating society, and Souter Johnnie’s Gallery, once the home of John Davidson (on whom Burns may have based the character Souter Johnnie in Tam o’ Shanter), and now an art gallery and craft shop showcasing local work.

The museum collection comprises of over 5,500 objects including 2 Kilmarnock editions. Only 612 copies of this first edition were printed, each containing 44 poems and songs written by the Bard. Although John Wilson was known for celebrating local talent, he was still reluctant to take a chance on an unknown poet from Ayrshire – in the end it was agreed that he would print the work only if Burns could raise enough advance subscriptions. The book cost 3 s each – 350 copies went directly to subscribers, and the rest quickly sold out within a month.

Reviews of the Kilmarnock edition were largely positive, although some made reference to Burns’s supposed lack of education (despite his home schooling by tutor John Murdoch and his familiarity with a range of literary and enlightenment figures including Alexander Pope, Adam Smith and Robert Fergusson). The Monthly Review in December 1786[1] also lamented Burns’s use of, ‘an unknown tongue, which must deprive most of our readers of the pleasure they would otherwise naturally create; being composed in the Scottish dialect, which contains words that are altogether unknown to an English reader…’. This seems a strange notion today, when Burns’s use of Scots is regarded by many as one of his best loved and most distinctive features.

Despite sentiments of this nature, the book began to circulate in Edinburgh, attracting positive attention from eminent society figures. Within 8 weeks, Burns was thinking of re-printing. The second edition of Poems, Chiefly in the Scottish Dialect (the First Edinburgh edition), was printed by William Smellie and published by William Creech in Edinburgh on 21st April 1787. The cost of this was 5 s to subscribers and 6 to other buyers. Over 3,000 copies were published, firmly establishing Burns’s reputation and paving the way for his future success as a poet and songwriter, both during and after his lifetime.

Blog post 3

Today, RBBM displays a Kilmarnock edition alongside an interactive facsimile which allows visitors to browse the pages digitally, therefore preserving the original for future generations. But this is not the only item of interest we have relating to this first volume of Burns’s works.

Blog post 4

Above we have the printing stocks used to decorate books published by John Wilson in Kilmarnock, and below is an elaborate seat fashioned from the printing press which was used to print the first edition of Poems, Chiefly in the Scottish Dialect. It was converted into a chair during the Victorian period in an early example of ‘upcycling’, and was also famously the chair Muhammed Ali sat in when he visited Burns Cottage in 1965.[2]

Blog post 5

The 5,500 objects in RBBM’s collection include original manuscripts of Burns’s works, letters to and from the Bard, artefacts belonging to Burns and his family/friends, artworks, books, Burnsiana (trinkets relating to Burns), and more. Together they make up the most extensive collection of Burns related objects in the world. But none would be important today without the book of 44 poems and songs, originally sold for 3 s each, representing an Ayrshire farmer’s first step towards becoming Scotland’s National Bard.





Burns in Irvine

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Photograph of the heckling shed at Irvine where Burns engaged in flax dressing
The heckling shed, Irvine

We always tend to associate Robert Burns with farming. Indeed he spent many years of his life at Mount Oliphant and Lochlie, in Tarbolton, also Mossgeil in Mauchline, and latterly Ellisland Farm in Dumfries. When he was Edinburgh, with a view to having his poems published, he was hailed as the Heaven Taught Ploughman by Henry McKenzie… the man who wrote one of Burns’s favourite books, The Man of Feeling.

When Burns was 23, he saw the lack of aim and purpose in his life and resolved to do something about it. He wrote: ‘My twenty third year was to me an important era. Partly through whim and partly that I wished to do something in life, I joined with a flax dresser in a neighbouring town, to learn his trade and carry on the business of manufacturing and retailing flax.’

Robert and his brother Gilbert had for a few years grown flax at Lochlie farm. They had rented three acres of their father’s land in which to grow this crop, which grew very successfully due to the clay soil and damp conditions. One year, Burns was awarded a government grant of three pounds and ten shillings for the production of flax seed for growing.

The neighbouring town of Irvine was about ten miles from Tarbolton, and was then the largest town in Ayrshire. It would seem that Robert invested a sum of money in this venture. His partner was a Mr Peacock, thought to be half-brother to his mother Agnes. Burns described him as a scoundrel, who also made money by the mystery of thieving.

The work of dressing flax was carried out in heckling sheds at No. 10 Glasgow Vennel. There were two sheds, one used for heckling and the other as a store room and stable. Robert slept in the loft of the store room. The work of heckling was long and arduous, and Robert spent about ten hours a day combing the flax, which produced clouds of choking flint and dust. After a few months of working in these conditions, Robert began to feel very unwell. A doctor was sent for, and Dr Fleeming came to visit him five times in eight days. It was not known what his illness was, but he was suffering from a very black bout of depression, as well as being in a lot of pain and seemingly having a fever. His doctor prescribed various things for him.

Many years later, in 1950, Dr Fleeming’s record book was found an attic by a pharmacist who bought his house. As he flicked through the pages, he saw the name: Robert Burns, flax dresser. The doctor had recorded the dates of his visits to Burns and also what he had prescribed, but had not recorded a diagnosis or prognosis.

Burns became so ill that his father came to visit him from Tarbolton. When he saw the dreadful and insanitary conditions his son was living in, he arranged for him to be moved out of the store room where he slept and into a room at No. 4 Glasgow Vennel. Burns wrote a letter to his father on the 27th December, 1781 telling him he was: ‘quite transported at the thought that ere long, perhaps soon, I shall bid an eternal adieu to the pain and weariness of life, for I am heartily sick of it’.

He was deeply depressed, and all he could see ahead of him was poverty and obscurity. He also wrote that he had been reading the Revelation verses 15, 16 and 17: ‘It speaks of no more suffering, no more sorrow, no more pain, and that God will wipe away all tears from all eyes.’ He seems to have been particularly fond of those verses and has quoted them in other letters.

Four days after he wrote that letter, worse was to come… the heckling shed was burned down by the carelessness of his drunken partner’s wife, Mrs Peacock. It was burnt to ashes and Robert lamented: ‘It left me like a true poet, not worth a sixpence’.

He stayed on in Irvine for a number of weeks after the fire, having formed a close relationship with a seafarer by the name of Richard Brown. It is not known where they met, but Brown was six years older than Burns, had had mixed fortunes, and had some education. They spent a lot of time together, talking and walking in Eglinton woods. Robert loved him and admired him and to a degree he strove to imitate him: Brown had a knowledge of the world and Robert was all attention to learn. Robert used to recite his poems to Brown was they walked, and one day Brown encouraged him to consider having his poems printed. The seed was planted in Burns that day.

I think that the most significant thing to have come out of Robert’s time in Irvine was his discovery of Robert Fergusson, the young Edinburgh poet. Born in 1750, his collected works were published in 1773 and he sold 500 copies. It is not known where Robert came across Fergusson’s works. It was perhaps in Willie Templeton’s bookshop at Irvine cross, at which Burns was a regular visitor. Burns felt an emotional kinship with Fergusson and later wrote:

‘Oh thou my elder brother in misfortune
By far my elder brother in the muse
With tears I pity thy unhappy fate’

A few years later, Burns commissioned a memorial stone for Fergusson’s unmarked grave in Cannongate, and in the preface to his Kilmarnock edition in 1786, he referred to him as ‘the poor unfortunate Fergusson’. He wrote in an autobiographical letter: ‘meeting with Fergusson’s Scotch poems, I strung anew my wildly sounding rustic lyre with emulating vigour’. He also said that Fergusson had made him come alive as a poet. He was greatly influenced by Fergusson, as we can see in the Mauchline Holy Fair, inspired by Leith Races.

Burns left Irvine in March 1782 and returned to Lochlie farm in Tarbolton. He had returned for the ploughing and planting season.

And so it was that he was back where he started, but as a very much wiser man. He also had a new aim in life: to become a poet and have his work printed some day.

This blog was written by one of Robert Burns Birthplace Museum’s dedicated volunteers, Ann Hamilton, who delivered a Highlight Talk on the subject last month. Many thanks to her for all her hard work and research.