R.T. McPherson
Robert Turnbull McPherson was active in Scotland between 1835 and 1837. Relatively little is known about his everyday life and indeed the whereabouts of most of his works also remains a mystery. However, an entry in the Dictionary of Scottish Art and Architecture, by Peter J M McEwan, tells us:
'Edinburgh portrait painter, often in crayons and generally with sitters accompanied by their pets. In 1837, for example, exhibited ‘William Stewart of Glenmoriston with favourite dogs’ at the Royal Scottish Academy. Exhibited at Royal Scottish Academy 15 works.'
The Scottish National Portrait Gallery in Edinburgh have only one image of his work. The fact that he exhibited work at the Royal Scottish Academy tells us that Mcpherson was an artist of merit. However, staff at both the National Portrait Gallery and the Royal Scottish Academy were unaware of the existence of the painting which is analysed in this book.
Excerpt from The Rosslyn Templar:
Among his paintings, two may help us understand why he painted in Rosslyn Chapel: Charles Erskine Esq and a favourite horse and Dr William Erskine HEICS. The Sinclair family who owned Rosslyn Chapel were related to the Erskines through the Herdmanston Branch of their family. Although this branch of the Sinclairs never owned Rosslyn, the transfer of Rosslyn Chapel to them remains a mystery. The title, Earl of Rosslyn, was created in 1801 for Alexander Wedderburn (1733 – 1805) Lord Chancellor for Great Britain, and he became the 1st Earl of Rosslyn. James St Clair-Erskine, 2nd Earl of Rosslyn (1762 – 1837), was the Acting Grand Master of the Grand Lodge of Scotland 1810 – 1812. It may be the case that R.T. McPherson was commissioned by the Earls of Rosslyn to paint the portrait in their chapel.
The painting could be a self portrait? However, who the man in the painting is, is not nearly as interesting as where he is, and what surrounds him. McPherson’s painting offers viewers an artistic voyage into the architectural genius of Rosslyn Chapel, but more so, into the world of 19th century Masonic rituals and the revival of interest in the Knights Templar. The content, and what each of the features represents within this piece of art, make it a true Scottish treasure, which has been hidden for over 150 years.