Tha sgeul ri innse: stories of 15 Gaelic objects for the telling

Is ann às na sgìrean far a bheil no far an robh a’ Ghàidhlig ga bruidhinn a thàinig mòran de na nithean a shaoileas sinn nan ‘ionmhasan nàiseanta’ Albannach. 

An-diugh, is e na sgìrean Gàidhlig sa mhòr-chuid Roinn na Gàidhealtachd, Innse Gall agus Earra-Ghàidheal. Ach b’ àbhaist don Ghàidhlig sgaoileadh fada na b’ fhaide, thar Siorrachd Pheairt, Moireibh agus a-steach do Shiorrachd Obar Dheathain.  Agus, tha àireamh luchd-labhairt na Gàidhlig a’ sìor fhàs ann am meadhan agus ceann a deas na h-Alba.

Tha nithean bho air feadh nan linntean anns na Cruinneachaidhean Nàiseanta a’ nochdadh an sgaoilidh chruinn-eòlasaich seo.   Ach thàinig mòran de na nithean gu Taighean-tasgaidh Nàiseanta na h-Alba gun ach bloighean de dh'fhiosrachadh nan cois, agus iad air an sgaradh bho na daoine, na h-àiteachan agus an cànan dham buineadh iad.

Tha pròiseact ùr aig Taighean-tasgaidh Nàiseanta na h-Alba, ‘Tha sgeul ri innse: There’s a story for the telling’ a’ sgrùdadh raon de nithean tro phrosbaig cànan, coimhearsnachdan agus cultar na Gàidhlig.  Tha ath-cheangal chruinneachaidhean ri daoine agus àiteachan air solas a thilgeil air an iomadh dòigh anns a bheil eachdraidh, cultar agus cànan na Gàidhlig freumhaichte ann an cultar stuthan. Rinn an rannsachadh mion-sgrùdadh air na nithean, còmhla ri clàran eachdraidheil, agus beachdan bho choimhearsnachdan Gàidhlig an-diugh, ann an com-pàirteachas le Sabhal Mòr Ostaig agus le taic bho Bhòrd na Gàidhlig.

An seo, bidh sinn a’ sgrùdadh 15 de na nithean – cuid a chuireas iongnadh oirbh. Tha gach fear a’ toirt sealladh dhuinn air saoghal stuthan na Gàidhealtachd agus a sluaigh, bho na meadhan-aoisean chun an latha an-diugh.

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Many of the objects we understand today as Scotland’s ‘national treasures’ came from the Gàidhealtachd: the traditionally Gaelic-speaking areas of Scotland. 

Today, these areas are predominantly the Highlands, Hebrides and Argyll. Historically, the Gàidhealtachd extended much further, across Perthshire, Moray and into Aberdeenshire. There are growing numbers of people who speak Gaelic in central and southern Scotland.

Objects from across time in the National Collections reflect these geographic shifts. But, many of these objects came to National Museums Scotland with only fragmentary information. They have been disconnected from the people, places and language of their origin.

A new project at National Museums Scotland, 'Tha sgeul ri innse: There’s a story for the telling' explores a range of objects through the lens of Gaelic language, communities and culture. Reconnecting collections with people and places has thrown a light on the multitude of ways that Gaelic history, culture and language is embedded in material culture and words. The research analysed the objects, together with historical records and insights from Gaelic communities today alongside Sabhal Mòr Ostaig and with support from Bòrd na Gàidhlig.

Here, we explore 15 of these – sometimes unexpected – objects. Each offers a glimpse into the material world of the Gàidhealtachd and its people, from medieval times to the modern period.

1.  Seun grìogag òmair / Amber bead charm

Chleachdadh a’ ghrìogag òmair seo san Eilean Sgitheanach, mar sheun airson lèirsinn lag a leigheas.  Bha i ga cleachdadh suas gu deireadh an 19mh linn ach chaidh a dèanamh an toiseach ann an Linn an Umha, mu 3000 bliadhna air ais. Tha i na pàirt de dhualchas nas fharsainge de chlachan-seuna gan cleachdadh, gan ath-chleachdadh agus gan ceangal ri brìgh agus adhbhar thar ùine mhòr.  B’ e nithean naomha a bh’ annta, a bha cudromach ann an sunnd, slànachadh, agus casg tinneis is uilc don neach-cleachdaidh agus do dhaoine eile.

Bhithte a’ suathadh na grìogaig air an t-sùil mar dhòigh slànachaidh.  Tha òmar prìseil ann an iomadh cultar eadar-dhealaichte air feadh an t-saoghail airson mar a ghlacas is a sgaoileas e solas. Chì sinn, le mar a chaidh a’ ghrìogag seo a chleachdadh ann an aon dòigh no dòigh eile thar mhìltean de bhliadhnaichean, mar as urrainn iomadh eachdraidh eadar-dhealaichte a bhith aig aon nì.

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This amber bead was used in Skye, as a charm for curing failing eyesight. It was in use until the late 19th century but was originally made in the Bronze Age, about 3000 years ago. It is part of a wider tradition of charmstones being used, reused and imbued with meaning and purpose over long periods of time. These were sacred objects, which had an active role to play in wellbeing, healing, and the prevention of ill for the user and other individuals.

The bead was rubbed on the eye as a way of healing. Amber is used and valued in many different cultures around the world for its light-capturing and radiating properties. The many uses of this bead across thousands of years helps us understand the many different histories one object can have.

2. Leug MhicIllEathain / The Maclean Leug

Air a suidheachadh gu grinn ann an airgead le sgàineadh dràmadach na meadhan, tha a’ chlach-sheuna criostail-creige seo cho cudromach ’s gu bheil ainm aice: Leug MhicIllEathain.  Tha an leug seo – a’ ciallachadh clach luachmhor no seud – mar aon de bheagan chlachan-seuna meadhan-aoiseil a tha air an ainm Gàidhlig a ghleidheadh.  B’ ann le Clann MhicIllEathain à Muile a bha i an toiseach, teaghlach ainmeil ann an cultar nan Gàidheal.  Tha iomradh air an leug seo ann am mòran theacsaichean eachdraidheil.

Tha e coltach gun robh a’ chlach seo an toiseach na pàirt de dh’oibseact meadhan-aoiseil eadar-dhealaichte: is dòcha taisealan . Chaidh a cur na suidheachan airgid às dèidh sin, leis an sgàineadh sa mheadhan.  Is e seòrsa de chlach-èiteige a th’ ann an criostal creige, a bhathas a’ cleachdadh gu tric mar chlachan-seuna. San eisimpleir seo, chaidh a lìomhadh gu faiceallach ann an cumadh ‘druim-muice’. Tha cumhachd agus cudromachd air a bhith sa chloich thar nan diofar chruthan agus chleachdaidhean a bh’ aice.  Tha a’ chlach soilleir, gleansach – agus an sgaradh sa mheadhan – a’ glacadh solas agus lùth; a’ tàladh na sùla agus na mac-meanmna, agus is dòcha ga lìonadh thar ùine le cumhachdan slànachaidh no an dà shealladh.

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Delicately set in silver with a dramatic fracture in its centre, this rock crystal charmstone is important enough to warrant a name of its own: the Maclean Leug. Leug means a precious stone or jewel. This leug is one of few medieval charmstones to have retained its Gaelic name. It originally belonged to the Macleans of Mull, a notable family in Gàidhealach culture. This leug is referenced in many historical texts.

This stone is likely to have originally been part of a different medieval object: perhaps a reliquary. It was later set into its silver mount, which gently cradles the crack at its centre.  Rock crystal is a type of quartz, often used for charmstones. In this example it has been carefully polished into a ‘hogback’ shape, with a ridge down the centre. The stone has held power and significance across these different forms and uses. The transparent, gleaming stone – and indeed its central fracture – captures light and energy. It draws the eye and imagination, and perhaps imbues it with its perceived healing or scrying (glimpsing into the future) powers over time.

3. Feadan Iain Doill / Iain Dall's chanter

Is dòcha nach eil inneal-ciùil ‘Gàidhlig’ nas suaicheanta na a’ phìob-mhòr.  ’S e am feadan seo aon den fheadhainn as sine a tha fhathast againn.  B’ ann le Iain MacAoidh, no Am Pìobaire Dall, a bha beò bho mu 1656 gu mu 1754, a bha e. Faodar a ràdh gur e fear de na h-aois-dàna a bh’ ann an Iain, buidheann de shàr luchd-ealain ionnsaichte a bha air leth spèiseil ann an saoghal na Gàidhlig.  Bha an ìre a b’ àirde de sgilean agus comas aca.  Tha a’ phìobaireachd aige ainmeil airson cho toinnte agus àlainn ’s a tha i. B’ e bàrd cudromach a bh’ ann cuideachd.

Mus deach a bhuileachadh air an taigh-tasgaidh, bha am feadan fo chùram ochd ginealaichean de theaghlach A’ Phìobaire Dhoill ann an Canada, às dèidh dha ogha Iain a thoirt a-null ann an 1805.  Tha rannsachadh air mar a rinneadh am feadan air feuchainn ri ath-chruthachadh an fhuaim a dhèanadh e nuair a dheigheadh a chluich. Tha an nì seo a’ dèanamh ceangal ri fuaim an ama a dh’fhalbh, agus an t-àite a th’ aig ceòl ann an saoghal na Gàidhlig.  Tha dìleab a' Phìobaire Dhoill a’ leantainn an-diugh le pìobairean fhathast a’ cluich a chuid ciùil, agus a chliù cho làidir ’s a bha e a-riamh.

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There is perhaps no more iconic ‘Gaelic’ instrument than the Highland bagpipe. This chanter – the part of the bagpipe with finger holes, which creates melody – is one of the oldest ones known. It belonged to Iain MacKay, or Am Pìobaire Dall, the blind piper, who lived from around 1656 to around 1754. He can be considered part of the aos-dàna, a select group of learned artists revered in Gaelic society. They operated at the highest level of skill and ability. His pìobaireachd(pibroch) compositions are renowned for their complexity and beauty. He was also an important poet.

Before it was donated to National Museums Scotland, the chanter was cared for by eight generations of Am Pìopaire Dall’s family in Canada, having travelled there with his grandson in 1805. Research into the making of the chanter has attempted to recreate how it might have sounded when originally played. This object connects to the sound of the past, and the role of music in Gaelic society. His legacy continues today with pipers still playing his compositions, his reputation never having waned.

4. Am Bìoball Gàidhlig / Gaelic bible

Tha buaidh làidir aig Blàr Chùil Lodair ann an 1746 air mar a tha daoine a’ smaoineachadh air cultar na Gàidhlig. Agus tha buaidh a’ bhlàir air a bhith ga faireachdainn fad ghinealaichean.  Thathar ag ràdh gu robh am Bìoball seo aig saighdear aig Blàr Chùil Lodair.  Chan eil fios againn air cò e, no cò às a bha e, ach is dòcha gun tug am Bìoball seo beagan cofhurtachd no misneachd dha.

Chaidh an deasachadh seo den Bhìoball a dhèanamh ann an 1690 leis an Urramach Raibeart Kirk à Siorrachd Pheairt.  B’ e seo aon de na ciad dheasachaidhean den Bhìoball a chaidh a chlò-bhualadh sa Ghàidhlig. Tha e a’ comharrachadh àm cudromach ann an litreachadh a’ chànain, leis gun do sgrìobh Kirk am Bìoball seo ann an dòigh gu math eadar-dhealaichte bhon Ghàidhlig a bha daoine a’ bruidhinn. Ach, chuir e liosta briathrachais de 464 facal na chois gus luchd-leughaidh a chuideachadh.  Bha e cudromach gun d’ fhuair luchd-labhairt na Gàidhlig leabhar den chreideamh aca sgrìobhte nan cànan fhèin.  Do mhòran theaghlaichean aig an àm, b’ e am Bìoball an aon chothrom a bhiodh aca air an fhacal sgrìobhte.

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The Battle of Culloden in 1746 has played a pivotal role in the perception of Gaelic culture. The repercussions of the battle have been felt for generations. This bible is said to have been carried by a solider at Culloden. We don’t know his name, or where he was from, but perhaps this bible gave him some solace or courage.

This edition was created in 1690 by the Perthshire minister Robert Kirk. It was among the first editions of the bible to be printed in Gaelic. It marks a significant moment in the orthography of the language, with Kirk having written this bible in a manner very different from vernacular Gaelic. He did, however, include a vocabulary list of some 464 words to guide readers. Enabling Gaelic speakers to have a book of their faith written in their own language was significant. For many families of the time, access to the written word would have come exclusively through the bible.

5. Leabhar na fòn

Tha an leabhar-fòn seo bho 1977 a’ còmhdach sgìre Nis, an sgìre as fhaide tuath ann an Eilean Leòdhais.   Chaidh a dhèanamh mar phàirt de phròiseact Van Leer, pròiseact foghlam is leasachadh coimhearsnachd.  Tha leabhar den leithid feumail ann an coimhearsnachd ’s a bheil mòran dhàimhean, agus tha e suaicheanta airson gu bheil far-ainm dhaoine an cois ciad-ainm is sloinneadh laghail.

Tha eachdraidh fhada aig far-ainmean ann an cultar na Gàidhlig.  Tha iad feumail nuair a dh’fhaodadh an aon ainm a bhith aig grunn dhaoine sa choimhearsnachd.  Tha traidisean ann cuideachd de dh’ainmean spòrsail a tha a’ toirt cunntas air cuideigin a rèir fheartan corporra, feartan pearsanta no teaghlaich, an dachaigh no an dreuchd, iomradh air tachartas cudromach ionadail no nàiseanta, no fiù stuthan is oibseactan cumanta. Is ann ainneamh dha rìribh a b’ e an neach fhèin a thaghadh am far-ainm.  Bhiodh e air a thaghadh le caraidean, teaghlach no nàbaidhean (agus gu tric bhiodh am far-ainm orra, ge bith an robh iad ga iarraidh no nach robh!). Bha far-ainmean gu math feumail airson daoine aithneachadh far an robh cleachdadh ainmeachaidh traidiseanta a’ ciallachadh gu robh na h-aon ainmean air mòran dhaoine.  Chuir e iongnadh air tòrr dhaoine na far-ainmean fhaicinn sgrìobhte airson a' chiad turas, gu h-àraidh an fheadhainn aig nach robh fios gus an uair sin gu robh far-ainm orra... 

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This phonebook from 1977 covers the area of Ness, the northernmost part of the Isle of Lewis.  It was created as part of the Van Leer project, a wide-ranging educational and community development project. A useful publication in a highly-connected community, it stands out for its inclusion of nicknames alongside legal first and surnames.

Nicknames have a longstanding history in Gaelic culture. They are a practical identifier when multiple community members might share a name. There is also a tradition of playful names that describe someone by their physical features, personal or family traits, the location of their home or profession, a reference to a notable event locally or nationally, or even to commonly used products. Rarely would a name be chosen by the individual. It would be chosen by friends, family or neighbours (and often stuck, whether they approved or not!). The inclusion of nicknames was a helpful solution to identifying people where historic naming practices meant that many people had the same or similar names. Committing nicknames that were usually expressed verbally to paper raised some eyebrows, especially for those who discovered their nickname via print... 

6. Biodag / Dirk

’S e eisimpleir gu math àbhaisteach a th’ anns a’ bhiodaig Ghàidhealaich seo.  Tha a làmh (no dòrn) fiodha chruaidh air a snaidheadh gu grinn leis an sgeadachadh eadar-fhighte a tha dlùth-cheangailte ri cultar stuthan na Gàidhlig.  A bharrachd air a bhith brèagha, tha an snaidheadh practaigeach leis gu bheil e ga dhèanamh nas fhasa greim a chumail air ball-airm a bhiodh ga chleachdadh ann an sabaid teann ri teann.

Tha am facal biodag a' tighinn bhon fhacal biod, a' ciallachadh gob no ceann biorach. Tha a’ bhiodag air a bhith na pàirt shuaicheanta de dh’èideadh Gàidhealach bho co-dhiù an 18mh linn.  Thathas a-nis ga meas mar bhall-sgeadachaidh seach mar bhall-armachd. Tha a freumhan ann an sabaid, ach tuasaid no sabaid-sràide seach ball-airm àrd-inbhe, leithid  claidheamh, a bha co-cheangailte ri còmhrag-dhithis agus cogadh foirmeil. Tha a cliù mar bhall-airm suarach no ‘salach’ air a dheagh chur an cèill san t-seann-fhacal Ghàidhlig mu bhith a’ rèiteach eas-aonta:  ‘Ma tha Dia ann, ’s chan eil fhios a bheil, fàg eadar sinn fhèin ’s na biodagan’.  Tha an t-iomradh bhon Bhìoball air lann na biodaig seo, ‘a soft ansuer tourneth away wrath’, a-mach air an aon chuspair, le tomhas de dh’ìoranas leis mar a tha e suidhichte air sgian gheur a chleachdadh airson fòirneart.

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This Highland dirk is a fairly typical example. Its hardwood hilt (or handle) is richly carved with the interlace decoration closely associated with Gaelic material culture. As well as being decorative, the carving is functional in that it improves the grip on a weapon associated with hand-to-hand fighting.

The Gaelic term for ‘dagger’ or ‘dirk’ is biodag, with bioddenoting a point or pointed item. The dirk has become an iconic part of Highland dress since at least the 18th century. It's now considered more accessory than weapon. It has its roots in combat, but is associated more closely with street brawls. In contrast, higher status weapons – such as swords – are associated with duels and organised warfare. Its status as a mean or ‘dirty’ weapon is captured perfectly in the Gaelic phrase about resolving a disagreement before a fight: 'Ma tha Dia ann, 's chan eil fhios a bheil, fàg eadar sinn fhèin 's na biodagan’ which means 'If there be a God, and no one knows whether there be, leave it between ourselves and the dirks'. A Bibilical inscription in English on the blade of this weapon, ‘a soft ansuer tourneth away wrath’, chimes with this phrase, and carries a hint of irony given its arguably sinister placing along a sharp edge designed for violent use.

7. Crogan 

Is e crogan a th' anns an t-soitheach bheag iriosal seo. Chaidh a chur a-steach don chruinneachadh nàiseanta ann an 1863, às dèidh dha aire sgoilearan Comann Àrsairean na h-Alba a tharraing a bha ag obair ann an Leòdhas aig an àm.  Fhad ’s a bha iad a’ dol tron eilean le each is gige, mhothaich iad fear ri taobh an rathaid ag ithe bho shoitheach a bha coltach ri poit Linn Ùr na Cloiche mìltean de bhliadhnaichean a dh'aois.  Ach is ann a chaidh a dèanamh o chionn ghoirid san sgìre sin fhèin bho chrèadh ionadail.  Mar sin, ’s e eisimpleir brèagha a th’ ann den t-seòrsa obair-dèanaimh seo a’ mairsinn thar ghinealaichean.  Chaidh a’ phoit fhaighinn airson an taigh-tasgaidh ach cha deach ainm an duine a chlàradh aig an àm.  Mu 132 bliadhna an dèidh sin, b’ urrainn do neach-glèidhidh taigh-tasgaidh a' phoit a cheangal ris an neach-seilbh:  Uilleam Òg MacMhathain à baile Bhrù.

Ann an 1995, chaidh òraid agus deasbad poblach a chumail ann an Steòrnabhagh. Bha an sgrìobhadair agus bàrd Iain Moireach à Barbhas an làthair agus dh’innis e gun robh deagh chuimhne air sgeulachd a’ chragain na theaghlach fhèin.  Bhàsaich Uilleam Òg ann an 1910 aig aois 83.  Tha àite ri taobh an rathaid eadar Brù agus Àrnol air a bheil 'Tòrr Uilleim', air ainmeachadh mar chuimhneachan air.

Le bhith a’ smaoineachadh air an nì seo a-rithist, faodaidh sinn meòrachadh air beachdan an neach-cruinneachaidh, a’ coimhead air an nì bho thaobh a-muigh a’ chultair a rinn e, agus air beachdan nan daoine fhèin.  Tha an crogan na shamhla air carson a tha an obair phròiseict nas fharsainge seo cho cudromach.  Leigidh e leinn an t-àm a dh’fhalbh a cheangal ris an latha an-diugh, agus beàrnan eòlais, cànain agus cultair a lìonadh.  B’ e an t-Ollamh Ùisdean Cheape an neach-glèidhidh a rinn an ceangal eadar a’ phoit agus an neach leis an robh i ann an 1995, agus bha e ag obair air a’ phròiseact seo.  Fhad ’s a bha e a’ bruidhinn mun phoit leis a’ choimhearsnachd ann an Leòdhas mar phàirt de na bùthan-obrach pròiseict, bha fear de shliochd Iain Mhoirich aig an tachartas agus e ag aithris air airson a' BhBC.  Tha na sgeulachdan ioma-ghinealaich seo a cheart cho buntainneach dhuinn an-diugh ’s a bha iad ann an 1863 agus 1995.

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This small, unshowy ceramic vessel is a crogan. It was acquired into the national collection in 1863, after catching the attention of scholars of the Society of Antiquaries of Scotland working in Lewis at the time. Whilst travelling through the island on a pony and trap, they noticed a man by the roadside eating his lunch from what appeared to be a thousands-of-years-old Neolithic pot. In fact, the vessel had been made fairly recently in the area from locally-sourced clay. As such, it's a beautiful example of this type of making continuing across generations. The pot was acquired for the museum but the man’s name was not recorded at the time. Some 132 years later, a museum curator was able to link the pot to its original owner: Uilleam ‘Òg’ MacMathain from the township of Brù.

In 1995, a public talk and discussion took place in Stornoway. The writer and poet Iain Moireach of Barvas was present and shared that the story of the crogan was well-remembered in his family. Uilleam Òg died in 1910 at around 83 years old. A spot by the roadside between Brù and Àrnol is ‘Tòrr Uilleim’, named in his memory.

Revisiting this object allows us to engage with the perspectives of the collector, looking upon the object from outwith the culture which made it, and of the people themselves. The crogan is emblematic of why this wider project work is so critical. It enables us to connect the past with the present, and fill knowledge, language and cultural gaps. The curator who made the link between the pot and its owner in 1995 was Professor Hugh Cheape, who worked on this project. Whilst discussing the pot with the community in Lewis as part of the project workshops, a BBC reporter in the room was a descendant of Iain Moireach. These are multi-generational stories which remain as relevant to us today as they were in 1863 and 1995.

8. Poit-teatha Bharbhais / Barvasware teapot

A’ cleachdadh nan aon stuthan agus sgilean ionadail ris a’ chrogan (gu h-àrd), tha stoidhle na poit-teatha seo à Barbhas gu math eadar-dhealaichte.  Tha crèadhadaireachd Bharbhais a’ samhlachadh fasanan agus blasan na dùthcha san fharsaingeachd aig deireadh an 19mh linn. Tha Barvasware a’ leantainn cumadh agus stoidhle factaraidhean Staffordshire agus Cluaidh, ach ’s e òrnaidean a mhàin a bh’ anns a’ chrèadhadaireachd seach rudan practaigeach.  Thug nithean mar a’ phoit-teatha seo cothrom do luchd-cruinneachaidh agus luchd-turais a bha a’ tighinn a Leòdhas aig an àm ann an àireamhan a bha a’ sìor fhàs, rudeigin àraid ach sònraichte Leòdhasach a thoirt dhachaigh leotha.  Leig e le eileanaich airgead a dhèanamh bhon luchd-tadhail seo cuideachd, rud a bhiodh cudromach ann an coimhearsnachd far an robh pàigheadh ann am bathar agus eaconamaidh iomlaid fhathast cumanta.

Tha crèadhadaireachd Bharbhais a’ sealltainn gu robh muinntir an eilein cho mothachail air fasanan na dùthcha ri luchd-dèanaimh àite sam bith eile.  Tha e a’ sealltainn cho geur agus cho iomairteach ’s a bha iad.  Ghabh iad prionnsapalan dealbhaidh bho shoithichean bùird grinn agus leasaich iad iad gu bhith nam malairt ionadail mhòr do luchd-turais agus luchd-tadhail eile. Chan eil mòran romansachd ga riochdachadh anns an obair seo, ach dòigh-smaoineachaidh phractaigeach, spòrsail le ceangal làidir ri àite.  Tha sgeulachdan anns na soithichean, chan ann a-mhàin mu na daoine a rinn iad, ach mun chruth-tìre às an tàinig iad.

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Using the same local materials and skills as the crogan (above) this Barvasware teapot is markedly different in its intention. Barvasware reflect the trends and tastes of wider society in the late 19th century. Barvasware mimics mass-produced Staffordshire and Clyde pottery tableware in shape and style, but was not intended to be used. Objects like this teapot fueled the appetites of collectors and tourists coming to Lewis in increasing numbers, taking something idiosyncratic but uniquely of Lewis – Leòdhasach – home with them. It also enabled islanders to financially profit from these visitors, which would have been significant in a community where a payments-in-kind and barter economy were still the dominant form of currency.

Barvasware underlines how islanders were as attuned to the fashions sweeping the country as makers anywhere else. It demonstrates how astute and entrepreneurial the makers were. They took familiar design principles from delicate tableware and developed them into a substantial local trade for tourists and visitors alike. There is little romanticism here. Instead there's rather a pragmatic and fun sense of locality to these wares. They hold stories not only of the people who made them, but of the very landscape from which they were produced.

9. Gairm rabhaidh / Warning proclamation

Anns an Dùbhlachd 1887, ghabh timcheall air 400 fear is boireannach thairis tuathanas Aiginis, anns an Rubha ann an Leòdhas.  Bha iad airson croitean a dhèanamh dheth.  B’ e freagairt Riaghaltas Bhreatainn saighdearan agus soithichean-cogaidh a chur nan aghaidh. Tha gun deach a’ ghairm seo a sgrìobhadh agus a chlò-bhualadh sa Ghàidhlig a’ sealltainn cho draghail ’s a bha an riaghaltas mun t-suidheachadh.  Bha sabaid mhòr ann agus chaidh 14 croitear a chur an grèim.  Fhuair cuid binn prìosain suas ri 14 mìosan.  Bha daoine air feadh na Gàidhealtachd a’ sìor fhàs feargach mu shiostam seilbh fearainn a bha mì-chothromach is an-iochdmhor agus fada bho chleachdaidhean traidiseanta.  Bha mòran chùisean a lean gu na tachartasan ann an Aiginis, nam measg: fàilligidhean Achd nan Croitearan ann an 1886, buaidh leantainneach dheicheadan de dh’eilthireachd (cuid air a sparradh air na daoine agus cuid saor-thoileach), agus gort. Bha an sluagh air an sàrachadh buileach nuair a thòisich uachdarain bheairteach a’ cruthachadh thuathanasan mòra, agus a’ bacadh luchd an tuatha bho chothrom air fearann.

Thachair creachan fearainn coltach ri seo air feadh na Gàidhealtachd tro dheicheadan deiridh an 19mh linn agus a-steach do na 1920an.  Bha na creachan fearainn nam pàirt de strì chruaidh nan coimhearsnachdan airson còraichean fearainn, ach mu dheireadh thall  shoirbhich leotha, agus ann an cuid de chùisean, bhuannaich iad còir seilbh agus riaghlaidh air an sgìre gu lèir mun cuairt orra.  Mar eisimpleir, tha barrachd air dàrna leth an fhearainn gu lèir ann an sgìre Comhairle nan Eilean Siar a-nis fo sheilbh na coimhearsnachd.

Is iad na h-aon nithean sònraichte do na creachan fearainn anns a’ chruinneachadh nàiseanta nithean a tha co-cheangailte ri smachd an lagha. Chan eil nithean ann a tha a’ riochdachadh guthan nan daoine.  Is e nàdar cruinneachadh thaighean-tasgaidh gu bheil nithean ‘oifigeil’ gu tric a’ mairsinn, agus cuimhne chultarail ga chumail beò anns a’ bheul-aithris, leithid bàrdachd is òrain na Gàidhlig.   

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In December 1887, around 400 men and women occupied the farm of Aignish, on the Point peninsula in Lewis. They were attempting to reclaim it for the purpose of crofting. The response from the British Government was to send in armed troops and gunboats. That this proclamation was written and printed in Gaelic suggests that the government was genuinely worried about the situation. A fierce confrontation unfolded and 14 crofters were arrested. Some received jail sentences of up to 14 months. Frustration and a sense of injustice was growing across the Gàidhealtachd, towards an oppressive land-owning system which was far removed from traditional practices. There were many factors that led to the events in Aignish, including: failings of the Crofters’ Holdings Act in 1886, the continuing impact of decades of emigration (both forced and voluntary), and famine. The creation of large-scale farms by wealthy landowners further alienated people from the land.

Similar land raids happened across the Gàidhealtachd through the later decades of the 19th century and into the 1920s. These land raids are part of a longer process by which communities have come to secure hard-won land rights, and in some cases to own and manage the land around them. For example, over half of all land in the Comhairle nan Eilean Siar area is now owned by the community.

The only objects specific to the land raids in the national collection relates to law enforcement. There are no objects that represent the voices of the people enacting change. The nature of museum collecting is that often ‘official’ objects survive, whilst cultural memory continues in the oral tradition, such as Gaelic poetry and song.  

10. Spàin adharcach / Horn spoon

Tha e coltach gur e cuideigin bho choimhearsnachd an Luchd-siubhail a rinn an spàin adharcach seo bho dheireadh an 19mh linn.  Tha e à Dùn Bheagain san Eilean Sgitheanach.  Bhiodh obair air stuthan nàdarra, leithid adharc, gus spàinean, cupannan agus bathar taighe eile a chruthachadh, na rud cumanta ann an coimhearsnachdan dùthchail nuair a chaidh an nì seo a dhèanamh agus a chleachdadh.

Bha an tè a chruinnich e na boireannach inntinneach.   Rugadh Johanna, no Hanna, von Ettingshausen do theaghlach uasal Ostaireach.  Phòs i a-steach do dh’uaisleachd na Gàidhealtachd, agus b’ i an dàrna bean aig Tormod MacLeòid, Ceann-cinnidh Chlann MhicLeòid Dhùn Bheagain.  Às dèidh bàs Thormoid ann an 1895, fhuair i còir air taigh-dubhair Caisteal Dhùn Bheagain, Loidse Ùiginis.  Ged a phòs i a-rithist – agus i na Ban-iarla de Latour – bha buaidh mhaireannach aig a bliadhnaichean san Eilean Sgitheanach oirre.  Phàigh i airson grunn obraichean arc-eòlais agus stiùir i iad gu pearsanta.  Tha i na pàirt de ghluasad de luchd-cruinneachaidh boireann ann an ceàrnaidhean dùthchail na h-Alba aig deireadh an 19mh linn gu meadhan an 20mh linn, agus ’s e an dìleab aca gun do mhair mòran de chultar stuthail na Gàidhlig.

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This horn spoon from the late 19th century is likely a Traveller-made object. It comes from Dunvegan in Skye. The processing of natural materials, like horn, to form spoons, drinking cups and other domestic ware, would have been a common sight in rural communities when this object was made and used.

The woman who collected it is an intriguing figure. Johannah, or Hanna, von Ettingshausen was born into an aristocratic Austrian family. She married into elite Highland society, becoming the second wife of Norman MacLeod, Chief of the MacLeods of Dunvegan. Following his death in 1895, she inherited the right to Dunvegan Castle’s dower house, Uiginish Lodge. While she later remarried – becoming the Countess de Latour  – her years in Skye had a lasting impact. She funded and personally directed a number of archaeological excavations. She is part of a movement of women collectors in rural Scotland in the late 19th – mid-20th centuries, whose legacy is the survival of substantial bodies of Gaelic material culture.

11. Broidse cruinn copair snaighte / Engraved copper ring brooch

Air cùl a’ bhroidse bhig chopair seo, tha aon loidhne de Ghàidhlig sgrìobhte.  Tha e ag ràdh  “m’ ulaidh ’s m’ agh”.  Ged a dh’fhaodas ulaidh a bhith a’ ciallachadh “ionmhas”, a’ toirt cunntas air beairteas stuthail, thathas gu tric a’ cleachdadh an fhacail seo a bhruidhinn air luchd-gaoil.  Mar eisimpleir, dh’fhaodadh “m’ ulaidh” a bhith againn air pàiste no leannan.

Tha an sgrìobhadh fann agus neo-choileanta.  Tha e a’ dol air ais gu deireadh an 19mh linn no toiseach an 20mh linn, ged a dh’fhaodadh gun do rinneadh am broidse fhèin na bu tràithe, agus dh'fhaodadh gun deach a chleachdadh mar phrìne seàla. Tha an abairt litreachail a’ sealltainn tuigse dhomhainn air cànan, eu-coltach ri cho sìmplidh ’s a tha am broidse fhèin.  Tha daonnachd dhomhainn anns na faclan. Tha am broidse na dhìonadair.  Coltach ri Leug MhicIllEathain (gu h-àrd), faodar am broidse seo a thuigsinn taobh a-staigh cleachdadh nas fharsainge de sheunan agus clachan-seuna – aig an robh inbhe agus brìgh tro bhith gan cleachdadh agus gan caitheamh.  Lorgar an abairt seo ann an Carmina Gadelica, teacsa Gàidhlig de chreideasan, ùrnaighean agus geasan traidiseanta air a chruinneachadh le Alasdair MacIlleMhìcheil agus air fhoillseachadh an toiseach ann an 1900. 

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On the reverse of this small copper ring brooch, a single line of Gaelic text is inscribed. It reads a m’ ulaidh ‘s m’ agh.  It translates to ‘Ah my treasure and my joy‘ or 'Ah my darling and my delight'. Ulaidh translates as ‘treasure’, but rather than describing material wealth, this word is largely used in the context of people we hold close. For example, a baby or loved one could be described as m’ulaidh: ‘my treasure’.

The physical inscription is delicate and imperfect. It dates to the later-19th or early-20th century, though the brooch itself may have been made earlier and functioned as a clasp, for example, to pin a shawl. The highly literary phrasing shows a deep understanding of language, which belies the simplicity of the brooch itself.  There is a deep humanity to the choice of words in the inscription. The brooch itself becomes the protector. As with Maclean’s Leug (above), this brooch can be understood within the wider practice of charms and charmstones - which held importance and meaning through their use and their wearing. This same phrase is found in Carmina Gadelica, a classic Gaelic text of traditional beliefs, prayers and incantation compiled by Alexander Carmichael, published in 1900.

12.  Bogsa de shampallan clòtha / Box of fabric samples

Tha raon iongantach de shampallan clòtha anns a’ bhogsa bheag seo bho air feadh na Gàidhealtachd agus Innse Gall.  Tha iad a’ toirt sealladh air beatha sa Ghàidhealtachd aig deireadh an 18mh linn gu toiseach an 20mh linn.  Tha na sampallan a’ sealltainn gu robh dath is inneach pailt anns an aodach a bha daoine a’ caitheamh agus a’ cleachdadh am broinn an dachaighean.  Còmhla, tha na pìosan clòtha seo a’ nochdadh sealladh ùr air cleachdaidhean obair-làimhe dachaigheil na Gàidhealtachd agus a’ sealltainn farsaingeachd nan sgilean air feadh na sgìre.

Tha bileagan tùsail sgrìobhte le làimh ceangailte ri mòran de na sampallan le geàrr-chunntas air an t-sampall fhèin, a’ sealltainn a’ phàtrain no an seòrsa clòtha. Bidh iad cuideachd uaireannan ag innse ainm an t-seòrsa pàtrain fighe sa Ghàidhlig.  Is e ‘breacan’ an t-ainm air th’ air aon dhiubh, facal cumanta airson tartan. Bidh ‘breac’ a’ nochdadh cuideachd ann an ainmean eun, fhlùraichean agus bheathaichean (mar eisimpleir, breac, an t-iasg).  Tha gach cleachdadh den fhacal a’ comharrachadh pàtran measgaichte no briste.  Am measg ainmean pàtrain eile tha, ‘corran’, a' ciallachadh grunn rudan leithid sgian lùbte, gob sgèine, no rubha; agus ‘clò-cnapach’ a’ ciallachadh aodach clòimhe a tha cnapach, agus tha am facal ‘cnapach’ cuideachd a’ nochdadh ann an ainmean cruth-tìre.  Tha na h-ainmean agus na clòthan seo gu nàdarra Gàidhlig, agus buinidh iad uile ris an t-saoghal nàdarra bheò.

Chaidh na sampallan seo a chruinneachadh leis an Dr Raibeart Craig MacLagain agus an lìonra mòr de luchd-cruinneachaidh aige air feadh na Gàidhealtachd agus nan eilean.  Tha na làmh-sgrìobhainnean aige fhathast ann an Tasglann Sgoil Eòlais na h-Alba, agus tha na sampallan seo a’ ceangal ri cleachdaidhean traidiseanta nas fharsainge a chlàraich e.  Tha na bloighean seo de cheàird aodaich nan samhla corporra air na làmh-sgrìobhainnean sin agus nan goireas rannsachaidh beairteach air eaconamaidh obair-làimhe na Gàidhealtachd.

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This one small box is a treasure trove containing an astonishing range of fabric samples from across the Highlands and Hebrides. They show how life looked in the late-18th to early-20th centuries in the Gàidhealtachd. The samples present a picture where colour and texture abounded in the clothes people were wearing, and the interiors of their homes. Taken together, these textiles present new ideas of domestic Highland craft practices and show the breadth of skills at work across the region.

Many of the samples have original hand-written labels attached. These provide a brief description of the sample itself, showing the pattern or type of fabric. They also occasionally state the name of the type of weaving pattern in Gaelic. Examples include breacan meaning plaid, or the general term for tartan. It is also found in the names of birds, flowers and animals (breacis the name for a trout). Each use indicates a dappled, variegated or broken pattern. Corran, the term variously used for a sickle, the point of a blade or a headland. Clò-cnapach means wool fabric which is lumpy or knobbly, with cnapach being a term also found within the landscape. These words and fabrics are intrinsically Gaelic, and all come from the living natural world.

These samples were collected by Dr Robert Craig Maclagan and his substantial network of collectors across the Highlands and Islands. His manuscripts survive in the School of Scottish Studies Archive, and these samples connect to wider traditional practices he recorded. These slivers of textile craft materialise those manuscripts. They provide a rich research resource on the Highland craft economy.

13. Tubhailt anairt / Linen towel

Chaidh an tubhailt anairt mhìn seo a dhèanamh ann an Leòdhas timcheall air 1900 agus fhuaireadh e timcheall air 1930. Air fhighe ann am pàtran tùilinn daoimein, tha e air a dhèanamh le anairt, bhon lus lìn.  B’ àbhaist do lìon a bhith a’ fàs gu pailt ann an Leòdhas, agus tha e ri fhaicinn ann an ainmean-àite.  Mar eisimpleir, tha baile Lìonail ann an Nis air ainmeachadh às dèidh lìon.

Leis gur e rud dachaigheil a th’ ann, is coltaiche gun deach fhighe san dachaigh. Is dòcha gun deach an lìon a chaidh a chleachdadh ann fhàs san sgìre.  Tha e ag innse dhuinn mu làn sgilean an luchd-dèanaimh.  Bha iad comasach air stòras nàdarra san dùthaich mun cuairt orra a chleachdadh agus a thionndadh gu rudeigin practaigeach agus brèagha.

B’ e beachd cumanta san 19mh linn mu Innse Gall, agus a’ Ghàidhealtachd san fharsaingeachd, gun robh iad air dheireadh no nach robh iad a rèir bailtean mòra gnìomhachais na h-Alba a bha a’ “leasachadh” gu luath.  Tha an tubhailt seo de chàileachd agus de sgil cho àrd is gu bheil e a’ dol an aghaidh nam beachdan sin.  Tha e a’ sealltainn chomasan air leth ann an cinneasachadh, bho bhuain agus giullachd an lìn gu bhith a’ dealbhadh agus a’ fighe nì cho breagha.

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This fine linen towel was produced in Lewis around 1900 and was acquired in around 1930. Woven in a diamond twill pattern, it is made of linen, taken from the plant flax. Flax was historically grown in abundance in Lewis, and is reflected in place names. For example,the township of Lìonal in Ness is named for flax.

Given it is a domestic item, it is likely to have been produced by a weaver in the home. The flax used to make it was probably grown locally to them. The object tells us of the makers’ full skillset. They were able to exploit natural resources in the landscape around them, and turn it into something both practical and beautiful.

Dominant 19th century ideas of the Hebrides, and Gàidhealtachd generally, were that they lagged behind or were not in tune with the rapidly ‘progressing’ industrial towns and cities of Scotland. This towel is of such fine quality and craftsmanship, that it counters these views. It demonstrates exceptional skill in production, from harvesting and processing the flax to designing and weaving such a fine object.

14. Botal glainne / Glass bottle

Madainn a’ chiad latha den Fhaoilleach 1919, chailleadh 201 fear aig Biastan Thuilm. Chaidh an soitheach a bha gan giùlan dhachaigh bhon chogadh, an Iolaire, fodha goirid bho Phort Steòrnabhaigh.  ’S e seo fhathast an call beatha as miosa aig muir ann an àm sìthe anns an Rìoghachd Aonaichte.  Chaidh mòran fhireannach eileanach a mharbhadh aig àm a’ chogaidh.  Dh’adhbhraich an long-bhriseadh call làn ghinealaich cha mhòr de dh’fhir òga air feadh Leòdhais is na Hearadh.

Tha botal glainne Hamilton, a chaidh a bhuileachadh ann an 1976, ag innse an sgeòil seo ann an Taigh-tasgaidh Nàiseanta nan Cogadh, leis ‘gur dòcha’ gur ann bho long-bhriseadh an Iolaire a thàinig e.  Thàinig am botal do na cruinneachaidhean mar rud a bha co-cheangailte ris an tachartas, ach thathar ag ràdh gun deach a lorg ‘ann an Cala Steòrnabhaigh’ chan ann aig Biastan Thuilm.  Bhithear a’ dèanamh botail Hamilton bho mu 1868 airson iomadh deichead mus deach iad à cleachdadh.  Chan urrainnear a ràdh le làn chinnt an robh am botal anns an long-bhriseadh no nach robh. Ach tha am botal seo, agus feadhainn eile coltach ris, ann an cruinneachaidhean taigh-tasgaidh gus an tachartas seo a riochdachadh.

Le cho uabhasach ’s a bha an call, agus a’ bhuaidh leantainneach air a’ choimhearsnachd, tha na nithean ceangailte seo air pàirt chudromach a ghabhail ann a bhith a’ cuimhneachadh agus a’ samhlachadh na tubaist.

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On the morning of 1 January 1919, 201 men died at the Beasts of Holm. The ship carrying them home from war, the Iolaire, sunk a short distance from Stornoway Harbour. It remains the worst peacetime loss of life at sea in the UK. Many island men had died during the war. The sinking then meant the loss of almost an entire generation of young men from across Lewis and Harris.

A glass Hamilton bottle, donated in 1976, tells this story in the National War Museum, it being ‘possibly’ from the wreck of the Iolaire. The object entered the collections as being associated with the event, and said to have been ‘found in Stornoway Harbour’: notably, not at the Beasts of Holm. Hamilton bottles were produced from around 1868. They were in use for many decades before being superseded by new designs. Whether or not the bottle was definitely from the wreck cannot be known with complete certainty. But this bottle, and others like it, have made their way into museum collections to represent this event.

Given the significance of the loss, and the continuing deep loss felt in the community, these linked objects have come to play an important role in memorialising and materialising the tragedy.

15. Cluaran

Ged a b’ e cluaran a bh’ aca air, tha e coltach gur e pìos de dh'iùran tioram a tha seo.  Bhithear ga chleachdadh airson adan a chrochadh ann an  Leòdhas. Tha innleachdas nàdarrach do chroitearan: comas air nì sam bith a chur gu feum. Is dòcha gur e seo aon eisimpleir den leithid. Tha an lus seo a’ fàs gu cumanta air feadh nan eilean, agus chunnacas gum biodh e feumail airson adan is bonaidean a stòradh am broinn an taighe.  Nuair a bhios e tioram, tha an lus gu math làidir agus righinn. Nuair a thàinig e chun an Taigh-tasgaidh, chaidh beachdachadh gun gabhadh a chleachdadh cuideachd airson a bhith a’ crochadh aodach aotrom, iasg agus stamagan laoigh, às an robhas a’ faighinn binid  airson càise a dhèanamh.  Tha an t-sreang aig aon cheann a’ sealltainn gur mathaid gum biodh e air a chrochadh am broinn an taighe.  Bhiodh rud sam bith a bha crochte ris – ge bith an e ad, iasg no stamag – air tiormachadh gu furasta ann an teas an teine a bha a’ losgadh fad na h-ùine anns an teallach.

Chan eil eisimpleir clàraichte sam bith eile de dh'iùran no cluaran gan cleachdadh san dòigh seo.  ’S e nì iongantach a th’ ann, is dòcha a chleachdadh dìreach aon uair, a' sealltainn innleachdas aon neach. Tha e a' glacadh gu foirfe mar a bheir nithean àbhaisteach agus neo-àbhaisteach sealladh dhuinn air beatha agus cultar nan Gàidheal thar ùine.

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Named as a cluaran, the Gaelic word for thistle, this appears to be a piece of dried out common hogweed. It was used as a hat rack in Lewis. Resourcefulness is second nature to crofters, being able to identify uses for objects which might otherwise be discarded or overlooked. This is perhaps one such example. This plant grows commonly across the islands, and its potential has been seen as somewhere to store hats and bonnets within the home. When dried, the plant is surprisingly strong and robust. When it came to the Museum it was suggested that it may also have been used for light items of dress, and for hanging fish and calves' stomachs, which were used for rennet in cheese making. The string at one end suggests it would have been suspended within the home. Anything hanging on it – whether a hat, a fish or a stomach – would have dried easily by the fire, burning all the time in the hearth.

There are no other recorded cases of hogweed or thistles being used in this way. This is a surprising object, perhaps a one-off, demonstrating one individual’s ability to make-do. It captures perfectly how both expected and unexpected objects can offer glimpses into Gaelic life and culture across time.