The History of Glass, Jacobite Glasses and Outlander

Following on from our look at the historic use of Pewter in the earlier post: Pewter and Outlander, in this blog post we take a look at the history and use of Glass, some of the historic glass objects that appear in Outlander and also the fascinating topic of Jacobite Glasses.

A Brief History of Glass in Scotland

The earliest forms of glass found in Scotland are ‘vitrified’ i.e. produced or transformed via heat and fusion. Early vitrified glass was made by heating a mixture of sand, soda ash and lime to a very high temperature. It was the first type of glass to be made in large quantities.

Vitrified glass was first produced in Mesopotamia around 3500 BC. It was then made in Egypt (1540 BC), Greece, Rome, then the Islamic Kingdom in the 7th century. It eventually spread to other parts of the world. Vitrified glass is different from other types of glass in that it is more durable and resistant to weathering, so making it ideal for objects that need to be strong and long-lasting. Despite this, unlike pottery, glass does decay and denature over long periods of time. Hence, there are no historic examples of early glass.

The rate of decay of historic artefacts of glass depends upon: their chemical composition, the amount of weathering (by rain and sunlight), plus levels of physical and chemical stress endured. As well as corrosion by contact with acids, bases and alkalis, over time, the oxygen atoms linking the silica structure can weaken and break, so weakening the glass.

Though somewhat similar, glass should not be confused with ceramics, which has a different manufacturing process. Glass is a non-crystalline fused silica sand produced by melting and rapid cooling. Ceramics are crystalline, made by firing clay or other mineral powders. While both are hard, glass is more brittle and acts as a heat and electrical insulator, whereas ceramics are heat and electrical conductors.

Glass is typically used for: windows, bottles, cookware, lenses, fibre optic cables, and decorative arts. Whereas, Ceramics is used for: bricks, tiles, tableware, pottery, dental implants, biocompatible materials, cutting tools and high-performance materials for aerospace and energy industries.

Note: Pottery is a type of ceramic that is made from clay and fired at lower temperatures than other ceramics. The pottery earthenware is porous, so requires a fired glaze to waterproof it. It is also brittle. Stoneware, a subset of Pottery, is fired at higher temperatures (1100 – 1300 centigrade, 2000 to 2372 Fahrenheit) making the clay dense, chip-resistant, heat-resistant and non-porous.

At the end of this article, I have shared a few of our pottery and ceramic historic Scottish artefacts.

Back to glass… Glass is composed from:

• Silica, from sand, quartzite or volcanic ash, typically making up 70 to 80% of the composition by weight.
• A fluxing alkali (e.g. soda ash or pot ash), typically 15-20% by weight, which reduces the melting point of the silica; making the glass cheaper and easier to produce. However, together these are two substances are unstable, so…
• A stabiliser is added (e.g. lime). which prevents the glass from crystalising.

These are the common categories of glass:

• Soda-lime glass – 70-80% silica, 15-20% soda ash, 5-10% lime.
• Borosilicate glass – 80-85% silica, 10-15% boric oxide, 3-5% soda ash, 2-3% lime.
• Lead glass – 50-60% silica, 20-30% lead oxide, 10-20% soda ash, 5-10% lime.
• Fused silica 99.9% silica (very pure and durable, with a high optical clarity, requiring very high temperatures.

The Romans introduced significant amounts of glass into Scotland in the 1st century AD. They were known for their glass beads and decorative pieces, such as cups and vases. The ancient Romans also made flat glass by rolling out hot glass on a smooth surface. The resulting glass was neither clear nor even, but it was good enough to use in windows of the day. 

Throughout the Middle Ages, glassmaking in Scotland flourished. Glassworks were established in many parts of the country, and Scottish glass was exported all over Europe. The majority of medieval glass from Scotland was potash fluxed.

The first glassworks in the city of Edinburgh were established in Leith in 1560 by a group of Flemish glassmakers. They helped to raise the quality of Scottish glassware.

In 1610 Sir George Hay, 1st Earl of Kinnoull (1570-1634), was granted a patent by King James VI of Scotland (aka James I of England) to manufacture glass in Scotland. The patent was an exclusive 21-year licence (a monopoly) to manufacture glass. Due to his influence, the industry thrived and continues to this day, even if it is on a smaller scale.

By 1668, the French company Saint-Gobain had perfected a ‘broad glass’ method of manufacture that involved blowing long glass cylinders, slitting them and unrolling them to form an almost flat rectangle. This plate glass was then ground and polished on both sides.

Seventeenth-century glassmaking in Edinburgh expanded significantly to include the production of optical lenses and scientific instruments.

In 1674, English glassmaker, George Ravenscroft, invented a type of glass known as lead crystal, adding lead oxide to his glass recipe. The addition of lead allowed for the production of a high-quality glass known for its brilliance and clarity, together with the ability to be cut and engraved more easily than traditional soda-lime glass.

Ravenscroft’s lead glass became highly sought after and it laid the foundation for the production of fine crystal glassware. This meant that good quality mirrors and chandeliers could be made as well as wine glasses. Consequently, Britain manufactured some of the best glassware throughout the 18th-century. However, early Ravenscroft glass had a tendency toward crazing or ‘crizzling’.

Today, the Ravenscroft Crystal company produces lead-free crystal glassware, reflecting contemporary preferences for crystal without lead content.

Crystal is the popular term for colorless lead glass which has a high refractive index and consequently is particularly brilliant. The minimum percentage of lead in crystal varies by country, but it is usually between 24% and 36%. That with 30% lead is called ‘full lead’ or ‘cristal superieur.’ Today, the word Crystal is used to describe any fine glass tableware.

In the 18th-century, Edinburgh became a major centre for the production of crystal glassware. Scottish Glass became known for its high quality and intricate designs, such as (i) religious motifs, (ii) heraldry (e.g. coats of arms, crests, and mottoes), (iii) geometric designs (such as is found in stained glass windows) and (iv) floral and animal designs.

If you like stained glass, then check out our other blog post – ‘The Origins of the Fiery Cross‘. The stained glass window below can be found in the Abbey in the town of Culross (Outlander filming location for Crainesmuir). The window is called The Fiery Cross. Learn about its creator, stained glass and the history and meaning of the Fiery Cross in the above-mentioned blog post.

The 18th-century glassmaking industry in Scotland boomed, producing a wide range of products, from bottles, jars, tableware, window glass, to optical lenses, scientific instruments and medical equipment.

Such modern glass can be categorised as follows:

• Vitrified glass: Windows, Bottles and Jars, Lenses and mirrors, Tableware, Architectural glass and Laboratory glassware.
• More specialised Fused silica Glass: Optical lenses, Semiconductor manufacturing, Aerospace and defence, Medical devices, and Chemical processing.

Edinburgh Crystal became well known for its high quality and intricate designs. Scottish crystal glassware was known for its brilliance, clarity, and strength. It was exported all over the world and was used by royalty and aristocrats.

Dumbarton, an industrial town in Scotland, had several glassworks that operated during different periods, contributing to the broader history of Scottish glass production. Glencairn House Museum (c1623) in Dumbarton has a collection of over 600 pieces of glassware dating from the 16th century to the present day.

Well-known 17th and 18th-century Scottish glassworks and brands include:

• Craigmillar Glassworks (known for bottles, jars, and tableware).
• Stuart Crystal (founded by Clan Stuart, but not directly related to the Stuart Royal Dynasty; known for high-quality crystal glassware).
• Crieff Glassworks (established by James Drummond, Earl of Perth, in 1745). Ornate Drummond glass was known for its high quality and its intricate designs – often used to make drinking glasses, decanters, and bowls. It closed in 1792.
• Edinburgh and Leith Flint Glass Company – mid-18th to last 19th-century producers of some of the finest, museum-quality crystal and lead-crystal glassware. Leith also had an earlier glassworks that operated from 1689 to 1708.
• Caithness Glass. Established in 1961, the company relocated to Crieff in 2006. Specialising in the manufacture of glass paperweights and ornamental glassware, the company was awarded a Royal Warrant by the Queen Mother in 1968.
• Strathearn Glass (1966-present), known for its high-quality crystal drinking glasses, decanters, vases, and bowls.
• Glencairn Crystal. Known for high-quality crystal glassware – it is famous for the Glencairn whisky glass – an industry standard.
• Royal Scot Crystal – founded in 1982, it is known for hand-made and skilfully hand-cut lead crystal with a reputation for producing the very finest British hand-cut crystal tableware and giftware.

Throughout the 19th-century, arsenic and antimony were commonly used in the glass industry for decolorisation. These were dropped in favour of safer, less toxic substances in the 20th-century such as Selenium, Cerium Oxide and Manganese Dioxide.

Scottish glass manufacturing remained successful during the 19th-century largely through specialisation in the face of increased overseas competition.

In the 20th-century, the glassmaking industry in Scotland declined. This was due to a number of factors, including the rise of new materials, such as plastic and the high cost of energy.

Glass Bottles & Outlander

Silica (sand), lime, and soda ash contain natural impurities (like iron oxide and manganese), which produce green or brown-tinted glass. Impurities from open furnaces can also contribute to this colouration.

Eventually, chemical processes known as decolourisation were developed to remove impurities and create clear glass. However, Green and brown glass bottles continued to be popular because they were less expensive to produce. Green and brown glass bottles also had the advantage of protecting the contents of the bottle (e.g. beer or wine) from light degradation.

Such bottles feature frequently in scenes from Outlander. The researchers and buyers for Outlander visit historic events and suppliers to purchase props including bottles and glasses, as well as pewter (see our Pewter blog post) and weapons.

We too have met with some of these suppliers and added several of these bottles and glasses, as well as many weapons, to our collection. Above and below are some of our historic bottles; some are replicas, some are genuine antiques. Below, our bottles are placed on a radiator, which is clad in the Aberlour Distillery tartan:

One of our glasses, in a 17th-century style, bought recently from an Outlander supplier, may well make an appearance in a future episode or series, maybe in the hands of Brian or Ellen? We are sworn to secrecy…

Before glass was available, wine and spirits would typically be served from casks or in jugs made from wood, pewter, leather (sealed with tar or bitumen) or stoneware. The flagon shown below left was typical of those used to store Rhenish, the low-alcohol wine, frequently seen being drunk during the Outlander TV series. Rhenish comes from, and takes its name from, the Rhine region of what is now Germany.

Initially, in the early 17th century, glass bottles were imported into Britain and would have been re-fillable only. Then, later in the 17th century, advancements in glassmaking technology, such as the development of coal-fired furnaces, improved the production of glass containers. This led to the widespread use of glass bottles for various purposes, including storing and transporting liquids. Initially, these bottles were hand-blown and had irregular shapes.

Salt glazing is a ceramic glazing technique which involves introducing salt into the kiln during the firing process. This technique is particularly associated with stoneware pottery such as jugs, crocks, and storage containers. It was widely used during the 17th, 18th and 19th centuries. The salt reacts with silica in the clay. The resulting glaze is durable and waterproof.

By the 18th-century, the glassmaking industry had further progressed, and the production of glass bottles became more standardized. This period saw the establishment of glassworks in various parts of Britain, and the use of glass bottles became more common for a range of products, including beverages, medicines, and other household items.

Styles of bottles evolved through the 17th and 18th-centuries. Each style typically remained popular and in use for many decades and may have originated from different regions across Europe. Two prominent styles were ‘onion’ and ‘mallet’ bottles; the former were most popular in the 17th-century, the latter most popular in the 18th-century.

Onion and mallet bottles were primarily used for storing and transporting liquids such as wine, spirits and medicinal products. They were also commonly used to store household items such as vinegar and oil. The unique shape of the bottles provided several benefits, including a larger capacity for the contents, a sturdy base for stability, and a narrow neck that was easy to pour from.

The manufacturing of onion and mallet bottles was a highly skilled process, and the bottles were often made from lead glass. This type of glass was preferred due to its clarity, durability and resistance to breakage. Lead glass also allowed for intricate and decorative designs to be applied to the surface of the bottle, and some bottles were even embellished with intricate engravings, cutting and etching.

Onion and mallet bottles are now highly sought-after by collectors, and many examples of these bottles can be found in museums and private collections.

Another variant, similar in shape to the Mateus Rose bottle, is known as the ‘Bocksbeutel’. It has been used for wine from Franconia, a Bavarian region of Germany, at least since the early 18th-century.

Within the European Union, the Bocksbeutel enjoys the status of a protected bottle shape. The regulations describe the Bocksbeutel as a short-necked glass bottle, pot-bellied but flattened in shape, with the base and the cross-section of the bottle at the point of greatest convexity ellipsoidal in shape.

Here are two more of our reference books on antique bottles:

Here is a small montage of some of the bottles and glasses which are featured in Outlander:

Outlander Drinking Glasses

Here are three glasses that we own, two of them are 18th-century reproductions which have appeared in Outlander. The third, allegedly, is a 17th-century style glass that may well appear in a future episode… Perhaps it will be seen being used by Brian and Ellen in the forthcoming ‘Blood of My Blood’ ?

Jacobite Glasses

Jacobite Glasses were historically used to toast and support the unseated Jacobite monarchs of the Stuart Dynasty in the late 17th and 18th centuries. These glasses varied in height and volume. More modern, post-18th century, reproductions and replicas tend to be larger and taller. They are highly collectable and sometimes referred to as ‘Treason Glasses’.

The Catholic Jacobite monarchs in question were:

• James VII of Scotland and II of England. James was dethroned in 1688 in the bloodless ‘Glorious Revolution’
• His son, James Francis Edward Stuart, the would-be James VIII and III aka the ‘Old Pretender’
• Wanna-be monarch, Charles Edward Stuart, aka ‘Bonnie Prince Charlie’ aka The ‘Young Pretender’

The word ‘Jacobite’ is derived from the Latin word for James – Jacobus after James VII & II. He fled to France and was replaced by Protestant William of Orange, a Dutch prince.

William was James’ son-in-law, married to James’ Protestant daughter, Mary. In February 1689, William III and Mary II were jointly crowned as co-monarchs of England and Ireland (and later in the year for Scotland). This is the only instance of fully equal co-monarchs in modern British history.

Special Jacobite glasses were created to toast ‘The King over the Water’ (exiled James VII in France). This frequently entailed standing and holding the glass over a bowl (denoting the sea), making a pledge to ‘The King’ and kissing the Jacobite symbology engraved on the glass. This led to water bowls being banned at royal banquets until 1903.

Such acts were often performed in secret, as support for the Jacobite cause was outlawed and deemed an act of treason following the failed Jacobite Rebellions. They remained a feature of illicit Jacobite clubs and societies.

Some Jacobite symbols were cryptic to hide their intentions. Others were more obvious, such as the inscription ‘GOD BLIS KING JAMES THE EIGHT‘ and ‘Redeat’ (Latin, “May he return”). They were engraved by hand in diamond point.

Jacobite Glasses can have distinct styles such as:

• The Balustroid Glass (see below)
• Trumpet-shaped (shape like a trumpet, as the name suggests)
• ‘Amen’ glasses (see below)
• Firing glasses, smaller with shorter stems
• Cordial glasses (again smaller)

Amen’ glasses are exceptionally rare.  Their production was limited to a short period in the mid-18th century, primarily associated with Jacobite support in Scotland. Such glasses were frequently smashed after a toast, to hide the evidence (of treason). This has led to them being highly collectable.

Amen’ glasses are so-called because they are inscribed with verses from the Jacobite version of the National Anthem, which ends in ‘Amen’. They are so special and rare, that are often given unique names such as:

• The Bruce of Cowden glass (an individual ‘Amen’ glass)
• Chastleton Manor (a set of 11 glasses and two decanters)
• The Lennoxlove Amen glass (The Edward V Phillips Collection)
  • Edward, a grain merchant from the Cotswolds, started collecting 18th-century glassware in the 1960s. Auctioned in 2012, his collection included: dishes, taper sticks, Jacobite wine glasses, Williamite wine glasses, a Jacobite portrait decanter and the Lennoxlove Amen glass. 
• Spottiswoode (see below)
• The Valliant glass
• The Keith-Douglas ‘Amen’ glass
• The Perry of Mambeg ‘Amen’ glass
  • The last two were up for auction recently at Bonhams auction house. They sold for £75,000 and £50,000, respectively on December 6th 2023.

In 2017, we saw first-hand one such glass, known as an ‘Amen Glass’ on display at a local specialist antique dealer. This glass went on to fetch £42,000 at auction.

Jacobite amen glasses were typically decorated with political and religious symbols which were important to the Jacobite cause, such as the Stuart coat of arms, the thistle, and the rose. The use of Amen on these glasses may have been intended to convey a sense of affirmation or solidarity with the Jacobite movement.

Many of the estimated 37 to 40 surviving Jacobite Amen glasses are held in private collections or museums, including the Victoria and Albert Museum in London, the Corning Museum of Glass in New York, and the Scottish National Museum in Edinburgh. An example of the rare Amen Glass can be seen at Traquair House – the oldest inhabited house in Scotland. It is a former Royal Hunting Lodge dating from 1107. The house has strong Jacobite connections – in the 1700s the earls of Traquair supported the Jacobite cause, plus Bonnie Prince Charlie visited the house in 1745.

A replica of a Spottiswoode Amen Glass is included in the 2011 limited edition (price $5,800, n=150) Drambuie Jacobite Collection – The Spirit of ’45. This collection included a stunning hand-blown crystal decanter and a rare blend of precious 45-year-old whiskies together with a presentation box. The origins of Drambuie are connected to Bonnie Prince Charlie via Clan MacKinnon from a recipe which he left in Scotland. This recipe was passed down from his Polish mother, who in turn received the recipe from Polish monks. The Drambuie Liquer Company (Edinburgh) has an extensive, curated collection of Jacobite and Scottish Art. It is curated by Robin Nicholson, who wrote a book about the collection called ‘BONNIE PRINCE CHARLIE AND THE MAKING OF A MYTH: A STUDY IN PORTRAITURE 1720-1892’ (2002).

The above-mentioned Jacobite symbology found on such glasses includes motifs and ciphers. Jacobite motifs included:

• The white rose of the Stuart dynasty (latin: Alba Rosa or Alba maxima)
  • In Latin, Alba means white. In Scots-Gaelic is refers to Scotland.
• One or typically two Rose buds, one open, one closed, where the rose refers to the Old Prender, the buds refer to his son or sons i.e. Prince Henry and/or Prince Charles.
  • The open bud represents Prince Charles Edwards Stuart and his claim and right to the throne.
  • The closed bud represents, his brother, Henry Benedict Stuart, Cardinal Duke of York, depicting that he had renounced his rights and his claim to the throne i.e. now ‘closed’.
• The phrase ‘Fiat‘ or ‘Fiat justitia’ (‘Let justice be done‘)
  • ‘Fiat’ is a Latin word that means ‘let it be done’ or ‘let it be made’ and it is often used in the context of official decrees or commands.
  • ‘Amen’ may be used in a similar content by Jacobites; it is thought to derive from Greek via Hebrew meaning: ‘may it be so’, ‘truly’, ‘so be it’ and ‘let it be confirmed’.
• The Latin motto – Redeat, meaning ‘Let Him Return’.
• The motto – ‘revirescit’ – it revives, it grows green again, it shoots again. This in turn relates to the Oak Tree:
• The Oak Leaf or Oak Tree – representing strength and resilience.
• The Acorn – similarly representing strength, longevity, and potential;
  • According to legend, Charles II (a Stuart) hid in an oak tree to evade capture by his enemies during the English Civil War. Hence the Stuart acorn symbology.
• Bundles of sticks – representing strength in numbers.
• The ‘Forget-Me-Not‘- a symbol of remembrance and loyalty to the exiled Stuart monarchy (collected by Claire at Craigh Na Dun).
• The Crown and Thistle – representing the monarchy and Scotland.
  • The Thistle represents the Stuarts’ claim to the Scottish throne. The thistle surmounted by a crown was an ancient badge of Scotland.
• The Sunburst – meaning the hope of a new dawn and the restoration of the Stuart monarchy.
• The Star – representing the exiled Stuart monarchs – often referred to as “the shining stars.”
• The Carnation – chosen because of its Latin name, ‘Dianthus’, which means ‘flower of the gods’ – representing the rightful monarchs.
• The Sunflower – symbolising loyalty and devotion to the cause
• The Bee – a symbol of loyalty, community and a representation of new life forming out of decay
• The Phoenix – representing the hope that the exiled monarchs would one day return to the throne.
• The Butterfly – known for its spectacular hatching from a chrysalis may symbolise hope for the Stuarts’ grand return from exile
• The Jay bird, possibly (contentiously?) representing King James in exile.
  • The Latin name for the Jay is ‘Garrulus glandarius’, with the first letter ‘G’ potentially linking it to James.
  • In Celtic cultures, Jays are sometimes associated with trickery, defiance, and rebellion, qualities shared by the Jacobite cause. Scottish folklore also depicts Jays as messengers of change or harbingers of good fortune – connotations to the Stuart Restoration.
  • In Aesop’s fables the jay bird dresses himself in peacock’s feathers, but the peacocks on finding the imposter pluck away his feathers and the Jay returns from whence he came.
• The Sword – a symbol of military strength, used to express a willingness to fight for the exiled Stuart monarchs.
• The ’45’ Glass – depicting Bonnie Prince Charlie, and commemorating the Jacobite Rising of 1745.

Jacobite ciphers included:

• JR – standing for James Rex or King James, and was used by supporters of the exiled King James II and his descendants.
• HR – standing for Henry Rex or King Henry, and was used by supporters of the exiled King Henry IX, who was the younger brother of Bonnie Prince Charlie.
• CS – standing for Charles Stuart or Prince Charles, and was used by supporters of Bonnie Prince Charlie during the Jacobite uprising of 1745.
• FJ – standing for ‘Fiat Justitia’ or ‘Let justice be done’.

A glass is described as Agrostic when the symbols and ciphers contain a hidden message. They were an early form of encryption, such as the message hidden in the music manuscript which Jamie deciphers with the help of Mother Hildegarde at L’Hôpital des Anges.

Jacobite glasses and glassware commonly shared the following characteristics:

• Typically made of lead glass; this glass has a high percentage of lead oxide (at least 18%), which gives a high level of sparkle and brilliance. Lead crystal (sometimes referred to simply as crystal) contains at least 24% lead oxide. Both lead glass and lead crystal are prized for their clarity, brilliance, and ability to be cut and polished into intricate designs.
• Often referred to as fluted or as flutes. These are vertical grooves or ridges that can be either functional and/or decorative. Fluted Jacobite glasses are distinguished by their elegant design, which typically features a slender, elongated bowl that tapers towards the base. The flutes on the outside of the glass add to its visual appeal, and can also help to prevent the glass from slipping out of the drinker’s hand.
• The Fluted Jacobite glasses also often contain an elegant opaque air-twist pattern in the slender stem.
• The above-mentioned Baluster Jacobite glasses or goblets featured a thicker stem than the flutes with bulbous rather than slender tapering stems and bowls. The bulbous swellings on these stems are known as ‘knops’.

As well as flutes or glasses, the Jacobite styling appears on lead crystal decanters, flasks, finger bowls and punch bowls. Of course, there are many other Jacobite pieces such as jewellery, snuff boxes, medals and coins, busts and miniature portraits as well as Jacobite art. Many of these can be seen at the visitor centre at nearby (to us) Culloden Battlefield. We have our own collection of Jacobite and Hanoverian art, coins and medals too.

Another treasured item in our possession is the following, highly collectable, book by Geoffrey B. Seddon:

Jacobite Glass in historic context

There are many other similar styles of glasses from the Jacobite and neighbouring eras, such as: Bohemian, Georgian, Williamite, and Victorian, as well as older eras such as: Roman, Syrian, Venetian, Renaissance, Baroque, Art Nouveau and Art Deco Glassware.

In the 18th century, faceted stems became popular. Wineglasses in the 18th-century often had engraved decoration sometimes commemorating causes such as the Jacobite and Williamite glasses.

These are maybe topics for another time… That said, to put Jacobite glasses in context to their neighbouring eras:

• Williamite glassware is associated with the reign of William III of England (William of Orange) and the events surrounding his reign.
• Georgian (mainly 18th-century) drinking glasses are as widely admired as Jacobite ones. They are very similar in style to Jacobite ones, sharing the same era. The decoration and symbology extend beyond Williamite and Jacobean, encompassing: good wishes, trades, localities, coats of arms, guilds and societies etc.
  • Styling includes: gilding (with gold or silver leaf or paint), air-twist stems, diamond point/cut patterns (sparkling), prunts (decorative and/or tactile blobs, fluting & ribbing (also decorative and tactile) coloured glass, plus older Roman and Greek neoclassical influences.
• Victorian (during the reign of Queen Victoria from 1837 to 1901) glass is characterised by a variety of design movements, techniques and styles which tended to reject what had gone before. These styles also reflected the success and expansion of the British Empire, fuelled by the burgeoning industrial revolution and automation in glass making and decoration. Victorian styles of glassware include:
  • The Aesthetic Movement, emphasising simplicity, nature and natural motifs, and the beauty of everyday objects.
  • Hand-painted and enameled designs in addition to gilded.
  • Cameo glass, using carved reliefs (raised areas).
  • Cut glass with intricate geometric and floral designs.
  • Bohemian glass with rich colors and ornate designs.
  • The use of figural handles in a wide variety of styles.
  • Personalised designs e.g. for special occasions
  • Later on – Art Nouveau Influence, building on some of the natural, flowing designs outlined above.

Architectural Glass – History & Outlander

The quest for flat glass with superior clarity and surface uniformity was not new. Ancient Egyptians and Romans practised polishing and grinding techniques. In Scotland, monks started producing rudimentary glass beads and small panes from the 7th century. Venetians then pioneered glassblowing during the Middle Ages.

Before the 16th century in Scotland, window openings were shuttered with wood and the panes may also have been covered with animal skins, leather, or woven materials. The skins could have been processed to become translucent and opaque; this is unlikely to have been common for window panes. Animal skins from sheep, goats, and calves were soaked, scraping, and stretching the skin to create a thin, flexible sheet. These were much more commonly used for parchment to write on – dating back to as early as 2400 BC. Scribes would treat the parchment with lime solutions and pumice stones to create a smooth and white surface.

As well as Pictish stones and carvings, we’ve enjoyed amazing examples of early glass beadwork, parchment, ink and illustrated manuscripts from the 6th to 8th century at the incredible Tarbet Discovery Centre, an excavated Pictish monastic estate 40 miles North of Inverness. Look out for more on this in a future blog post.

To make glass colourless, a mineral must be introduced into the batch which neutralizes the colouring effect of other materials. Traditionally, the decolourising agent used over many years was manganese dioxide. In the process, the manganese and the iron each absorb the light which the other transmits.

From the 6th to the 15th century, glass windows remained a luxury, primarily used in churches and cathedrals. Thick and uneven, they often distorted light and limited views.

At one of our favourite castles, Castle Leod, seat of Clan Mackenzie, in Strathpeffer, there are some sash windows thought to be the earliest remaining examples in Scotland. The small panes of leaded glass were so valuable that they would reclaim and re-use any broken ones, as they were difficult and expensive to replace.

Window glass is generally made of soda-lime glass. The lime acts as a stabilizer while the silica is the glass former. Also known as ‘float glass’ in modern times – it is known for its flatness and smooth surface.

The incorporation of windows significantly influenced architectural styles, through the 17th to 19th centuries. This effect was initially limited to affluent homes and important buildings, before becoming more widespread and mainstream.

During 16th-17th centuries, the invention of crown glass in France and cylinder glass in England made producing larger, clearer panes possible. By the late 1800s, glass was being manufactured at scale by blowing a very large cylinder and allowing it to cool before it was cut with a diamond. After being reheated in a special oven, it was flattened and affixed to a piece of polished glass which preserved its surface.

Float glass is used in windows, mirrors, and picture frames. It was invented by Sir Alastair Pilkington, a British engineer, in 1952. The float glass process involves floating molten glass on a bed of molten tin, allowing it to spread out evenly and form a flat surface. This method produces glass with a high optical quality and a consistent thickness, and it replaced older methods, which involved grinding and polishing glass surfaces.

In the 18th-century, glass was still a relatively rare and expensive material associated with wealth and sophistication. As such, it was valued, re-used and not thought of as at all disposable.

In Outlander, fine glassware and tableware represent social status and wealth, often serving as markers of class differences in the society Claire encounters. Glass vials, syringes, and other medical equipment highlight the limitations of 18th-century medicine compared to Claire’s knowledge, showcasing the cultural and technological clash she navigates.

The fragility of glass mirrors Claire’s own vulnerability as a time traveller thrust into a dangerous and unfamiliar past. Its beauty and translucence also symbolize hope and resilience, particularly as she adapts and thrives in her new reality. As a mirror, glass is a tool for introspection and reflection, challenging and provoking Claire’s self-image and identity as she crosses the centuries.

Other Forms of Glass

Glass is one of the most versatile, most misunderstood, materials in the world. It can be used for everything from windows to the ‘glassphalt’ you find on the road. 

Glass can be tempered (heat-treated to become shatter resistant e.g. for car windows and shower doors). It can also be laminated for impact resistance, be bulletproof, have low emissivity for improved insulation, be frosted or tinted for privacy, or it can have ‘solar control’ to reduce the heating effect of the sun.

Glass bricks can be used, sometimes decoratively, for construction. Fibre optics can convey light and data. Instruments, such as harps, flutes, and even drums can be made of glass to produce unique and ethereal sounds.

Ceramics and Pottery

Here is a selection from our collection of antique and vintage ceramics, pottery and stoneware.

(i) The Stewart badged jar (not with original lid) has an image of Prince Charles Edward Stewart (Stuart); the Clan Stuart, motto – ‘Virescit Vulnere Virtus’, which translates to ‘Courage grows strong at a wound‘; the Oak and Thistle clan badge.

(iii) The Bonnie Prince Charlie special edition of Glenfiddich Single Malt Scotch Whisky (43% ABV, 86 proof). Presented in a ceramic decanter, it was part of the Royal Heritage collection.

(v) The Rabbie’s Dram Real Ale bottle was made by Buchan Rare; it is quite rare and hard to find to this day. Rabbie’s Real Ale is a traditional Scottish ale brewed by the Buchan Brewery in Peterhead, Aberdeenshire. The brewery was founded in 1994 by Robert ‘Rabbie’ Davidson, and is named after him.

(vi) We couldn’t resist this wonderful one-off piece of hand-made, hand-painted pottery by Tain Pottery, made exclusively for the Tarbet Discovery Centre (see above section on Architectural Glass or more).

(vii) The Cooper & Co jar has been referred to as a Stonemason jar and was probably used to store cream (with a lid). Cooper & Co. cream jars are believed to have been produced between 1840 and 1920. The jars were produced in the family pottery business in Burslem, Stoke-on-Trent (aka The Potteries) and sold via outlets in Glasgow, Liverpool & London.

(viii) Our small Rabbie Burns whisky jug has the following inscription:

Man’s inhumanity to man
Makes countless thousands mourn
Man was made to mourn

From the poem “Man Was Made to Mourn: A Dirge” written by Robert Burns in 1784.

Another vintage ceramic that we have is this Drambuie decanter, shown with a set of Drambuie matches:

The Royal Stuart / Stewart Dynasty

The Royal Family and many individuals associated with the clan often used the spelling ‘Stuart’ while other branches, particularly those in Scotland, often used the spelling ‘Stewart‘. Stuart is more French & English in origin. Stewart also derives from French but the Scottish name could be more to do with its association with the role of Steward to the monarch.

In medieval times, the role of a Royal Steward was that of a high-ranking official responsible for managing the royal household and overseeing various administrative duties. This role had been held by members of the Stewart family since 1150.

In the reign of David I, the Scottish royal court began to take on a more feudal character, with the major offices of Steward, Chamberlain, Constable, Marischal and Lord Chancellor. Walter Stewart (1293 – 1326) was the 6th High Steward of Scotland; he married Marjorie, daughter of Robert the Bruce (Robert I). Their son became Robert II, who came to the throne quite suddenly in February 1371 when his predecessor (and uncle) David II collapsed and died. Robert II was the first in a long line of 11 Stuart monarchs, spanning 343 years from 1371 to 1714.

Q. Did you know that of the fourteen crowned monarchs between 1371 and 1714, four were murdered or executed, two died in battle and one in exile, while seven in succession came to the throne as minors?

If you are lucky enough to grab a place on one of our exclusive Seven Day Outlander Tours, you will get to see our home and our collections of antique Scottish glass and ceramics as well as art, weapons, books and maps (many first edition and/or 18th-century) and much much more.