 ac ydych chi'n gweithio yng Nghymru yn 2014 yng Nghymru Cynedig, Ternor yn Italy, yn 2008, gyda'r Palatsa Diomantian Ferrara, ychydig o'r llwyddiadau arall, ac yng Nghymru Ffaenart yn Fyda Pest. Efallai'n gweithio'r cyntempoedd. Efallai'n gweithio'r cyntempoedd, yng Nghymru, David Bailey ac Douglas Gordon. Yn 2011, byddwch chi'n gweithio'r llwyddiadau i'n gweithio'r llwyddiadau, yng nghymru, drwy'r llwyddiadau a'r llwyddiadau ar y 1600-1900 yn y gweithio'r Gall Gaeligol. Christopher haf yna'r cael ymlaen, mae'n gweithio'r gyllid yng Nghymru ar y Cystafol Llywodraeth, yng Nghymru Prydysgrifedd yn 2005. Christopher'n gweithio'r gweithio'r gweithio'r gweithio, ymlaen, ymlaen ychydig, yn ymddiadau'r llwyddiadau i'r llwyddiadau ar y cyllid ymlaen o unrhywgrws ymlaen a'r gweithio'r llwyddiadau ar y 1900-1900-er. Edwin Lansears, ymlaen, ac yn yng Nghymru a'r Gall Gaeligol, a'r llwyddiadau ar 1849-1851, yr Hyderwyr Llywodraeth, i'r cystafol Llywodraeth yn y cystafol Llywodraeth, ymlaen i'r gweithio'r gweithio'r gweithio'r gweithio. ond rydyn ni fydd rydyn ni yn ei chweithio'r gwaith, a'r cyfnodd yn gwahanol yn y cyfnodd, ac yn y cyfnodd cyfnodd, ac yn y cyfnodd. As Christyfr Sceith, ar y rhaid i'r reoedd yn ymddi'r prins, i bryddoch i'r lluniau, ac mae'r cyfnodd yn ymddi'r ymddi'r lancio ymddi yn yn ymgyrch yn ystod rhaid i'r gwir, ac yn ymddi'r yma yn unrhyw mewyr. Mae'n mynd i wedi'i rhoi'r wych yn ymddangos yn ymddangos. Rwyf wedi cael ei cael eu colli gondol i mi ac rwyf wedi cael y byddan nhw'n ffynishio'r ymddangos. Felly mae'r acfer y Glen yw yng nghymru yw'r ysgol. Mae'r cwmhysgol yn cael eich cyfnod o'r ddweud o'r hyn i'w ddweud o'r ddweud o'r cyfnod ymddangos. Mae'r ysgol yn gwneud hynny, a'r greu'n gwneud ymdangos gael y Glen, I dim ond o'r cwmhreitau sydd yr unig o'r unig o'r cyd-dreig, i'r hyn o hwyl yn dda i Richard Bryhers a Susan Hampshire, o'i'r cyfrwyr ar gyfer cyfwyr sydd o'r cyfrwyr yng Nghymru, i'w ddigonol beth o'r rhai cwmhreitau a'r adegau Richard Bryhers. Felly i'r ffawr i'r llaw o'r cwmhreitau mwybodaeth cwrs, mae'n ddweud o'r ddweud, ac mae'n angen i'r ddweud o'r ddweud o'r ddweud o'r ddweud o'r chwiniol. Mae'r anodd ymlaen, dwi'n gweithio i ddim yn y cynno a'r amlwg honno'n amlwg. Mae'r anodd yn gweithio i ddim yn gweithio i ddim yn y hanhain. Dyna Peter Blake, y pethau yn rhan o'r figure, yn yr ysgrifennad Ym Mwgol Mccartney yn y nôl, yn y ffarrwyd-gweithio y Llyfrgell yn y Llyfrgell. Mae'n anodd ymlaen ysgrifennad ym Llyfrgell. Mae'n anodd ymlaen ymlaen o'r figure, mae'n rheddolent ym Llyfrgell, ysgrifennad, ..a'r llwyaf, Tartan ac oedd ychydig i chi, Jimmie Wiggs.. ..a'r allwch y tîr ysgol yn y roi yn y rôl. Mae'r wneud o'r rhai gwybod.. ..y'r gweithio bach yn gwneud y Lansy a'r haf ynghyd.. .. прид oed yn y cymdeithasol biograffi. Mae'r cyfwyr yma o'r rhaglen sydd yn cyflawn.. ..a'r cyfwyr ar y cyfrannu sydd yn ymgyrch.. ..yna'r rhaid i gyrhau ymlaen i'r llyfr. An innocent note I would like to hand over to Christopher to enlighten us further about the many lives of Lancers monarch, Christopher, Thank you very much indeed. Thank you matern and everybody. Thank you very much for coming. Martyn Markserer, everybody who's made it possible for me to talk to you about this remarkable picture as has been explained I am going to focus on. ein amddir gynllunieddol maeth yÕlch, mewn prifoeddiaeth, yng Nghymru Bronyn yn y 19th. Yr ynghyd yn mynd i fel byddwn ni'n fawr. And rydyn ni'n gweithio byddwn ni'n gweithio. Mae'r ddi nesafodol, mae'n gweithio mae'n gallu ffordd o lynydd arwynt iddynt i ddweud newydd mai'n gweithio. Doeddadedych chi eich bod ni'n ddweud? Yn ymddangos, mae'n gweithio'n amser o'r llwyntio? Mae yddych chi eich bod ni'n gweithio. Yn 1849-51, ac mae'n gweithio, rydyn ni'n gweithio, rydyn ni'n gweithio ar gyfer Llywodraeth Llywodraeth, ac mae'n gweithio ar gyfer Llywodraeth Llywodraeth yn gweithio 4 miliwn pwysig, ac i fi gofynnwys llawer yn yr exi ridell, a rydyn ni'n gweithio i'n meddwl am gyfnyddio ar gyfer Llywodraeth Llywodraeth Llywodraeth, rydyn ni'n gweithio ar gyfer Llywodraeth Llywodraeth. Mae'n gweithio'r cyfrings, yn gweithio iron, yn gweithio am y lle peilio ar gael ar gyfer Llywodraeth. Ac yn yr lle lle mae'n gweithio am argyflwyd. I think we need to remind ourselves about how significant he was, how he was loved, how he was admired more than almost any other contemporary artist and also place him in a Scottish context in order to understand the significance and the resonance of this painting. Lancet was born here in London in 1802, he was born into an artistic family, his father was a print maker, an antiquarian, a man who had great ambitions for his children and a number of Lancet's siblings actually went into the art world, most significantly his brother Thomas who became an accomplished print maker. By the time of his death in 1873 he was undoubtedly one of the most famous artists not only in Britain but all around the world because of course the prints particularly after his most famous works such as the Monarch of the Glen were distributed all across the British Empire. And his animal paintings appealed across all levels of society as well, I don't know that there are many other artists from this period that one can claim that for, when Victoria was passionate about them and literally everybody else who saw them was too. They were admired for their drama, their charm and the very often sophisticated interaction between humans and animals that you find in them. Some of his works we regard today as sentimental and mawkish but I think we need to put that aside and try and reconstruct as far as we can the Victorian appeal that they clearly held. Now the market for his paintings ranged from very sophisticated metropolitan collectors, people like Sheepshanks here in London to grand aristocratic landowners. And it was the latter group that essentially provided the key to his Scottish connections which were vital to his career and indeed his success. Lancers identification with Scottish imagery and his ability to celebrate it underpins not only the Monarch of the Glen but also a number of his other most successful works. In 1823 he first visited Woban Abbey, the seat of the Duke of Bedford, who became an important and especially indulgent patron. And the Duke's wife, Georgiana, who you can see here beside me, was the daughter of the Scottish Duke of Gordon. And Lancers and the Duchess famously and notoriously in fact became lovers and the relationship was the cause of a great deal of scandal. And there's a vast amount of literature on this and various films etc, which you can look at. Here she appears in the mid 1820s dressed for fishing apparently although it's quite hard to see how she was going to fly fish with an outfit like that on but she does look very splendid. And she's depicted with her brother and son in this superb sporting picture which is currently on loan to the National Gallery of Scotland from a private collection. It's a magnificent painting. The family are all depicted at Glen Feshey in the Highlands and the whole painting is really a hymn to Lancers new love of Scotland as well as his love of the Duchess. He first in fact visited Scotland in 1824 at the age of 22 and he was completely overwhelmed by the experience. He stayed with Salter Scott, who you see here, the terrific portrait in the National Portrait Gallery at Abbotsford. And interestingly and I think memorably he insisted on painting all the dogs in Scott's households before he turned his attention to Scott himself. And he produced this wonderful fluid study, very engaging, very dramatic, very moody portrait. Among all his other skills Lancers is a great portrait painter. The artist travelled on to the Highlands and he fell in love with the landscape and what he considered to be the romance of Scottish history and literature and the natural world as well. He did very much see Scotland through the prism of Scott and Scott's writings and they appeared to have directly impacted on some of his choices he made about subject matter and it's highly likely in fact that they impacted on the monarch of the Glen. It's hard for us to imagine but in the 1820s going to Scotland must have been an extraordinarily liberating experience for an urban painter, a painter from London. And the attractions did not just ally with the Duchess but he actually did enjoy going there regularly. He loved the landscape. He made annual trips to Scotland from 1824 pretty much for the rest of his life. He would travel up in the autumn and he would combine drawing and painting, producing oil sketches such as this fabulous oil sketch at New Haven which many of you will know. He combined that with fishing and hunting so he practised what he painted. He was immersed in this world. And some of the most attractive results of these journeys are indeed these informal oil sketches which as far as we know were not really intended for public display. But they certainly informed the backgrounds that you find in some of his greatest paintings such as the Monarch of the Glen. The site of this one I think is not firmly identified although it's highly likely to be actually in the borders rather than up in the Highlands. And the greatest collection of them sadly does not sit with us. It actually belongs to the Duke of Westminster. Now for the next 15 years after Lancers first visit to Scotland his career followed a staggeringly successful trajectory. He enjoyed greater claim through regularly exhibiting at the Royal Academy and carefully, very, very carefully promoting his work further afield through printmaking projects which he controlled meticulously in terms of quality control but also making as much money as he possibly could out of them. He dominated the market for sporting and hunting pictures and it's perhaps in view of all this unsurprising that he came to attract extensive royal patronage as well. Not least because of course Queen Victoria and Prince Albert shared his delight in the discovery of Scotland and it was just at the point at which they were in the 1840s onwards repeatedly travelling to Scotland that he was producing some of his finest Scottish paintings. And there are a large number of superb oil paintings and indeed drawings that remain in the Royal Collection. However as we've heard Lancers fortunes dramatically changed in 1840 when he suffered a very severe nervous breakdown which had a terrible impact on his personal and social life. The causes of this are not entirely clear. It may be that he was affected by the pressure of work and his inability to complete all his commissions. There seems to be various personal problems that he had to endure as well and the combination of all that came together and it really completely transformed him. This young man who had been renowned for his sociability, for his wit, for his charm, for the way in which he engaged with all his patrons became an altogether different creature and ultimately suffered from alcoholism and insanity as we've heard. In spite of all that, and it is a remarkable story, he continued to receive commissions and it was in fact during the last 20 years of his life that some of his most public and most famous works were produced. Monarch of the Glen, perhaps the prime example, but I'd forgive me, it seems odd reminding you all this in London, but in Edinburgh I need to tell people that he's the man who of course had designed the wonderful lions that one finds at the foot of Nelson's Column in Trafalgar Square. These were based upon drawings and oil sketches, some of which he made at London Zoo. He was responsible for creating the full-scale model of them and then they were cast in bronze by Carlo Baron Marocchetti and they remained one of the great attractions of London. In spite of all those personal problems, he was supported with many friends through that crisis, he did continue to produce remarkable works during the latter part of his career. In fact in 1866 he was offered the presidency of the Royal Academy and he did decline it however on health grounds. In 1873 sadly he died, this is a sort of splendidly mawkish and sentimental memorial card that was published in that year. He was buried in St Paul's Cathedral and the crypt of St Paul's Cathedral and I tell you all this because it is relevant to his status and the contemporary status of his work. London ground to a halt, there was a very long and grand funeral procession and huge wreaths were placed in the mouths of the lions in Trafalgar Square. You have some idea of how he was revered at the time. In the following year 1874 there was a memorial exhibition held at the Royal Academy and over 100,000 visitors went to see it and it of course included the monarch of the Glen. I do find this an utterly bizarre image, he appears to be in the process of painting Queen Victoria but dreaming about all the dogs and deer that he spent his entire life painting. Anyway, I'm just trying to convey to you the nature of his contemporary reputation which goes some way to explaining why this particular picture is so resonant. The monarch of the Glen was included in the memorial exhibition as I've just mentioned and that exhibition was very significant for his future reputation because it provided a spectacular survey of his entire career. Many of the patrons who he'd served so well generously lent to it. The painting was from the beginning especially closely identified with the artist because it was the result of arguably his most illustrious and utterly unsatisfactory commission as we've heard. It was intended to form part of the decoration of the new palace of Westminster which doesn't look like that at the moment because it's all covered in scaffolding as I'm sure you all know. Now the new Gothic revival palace was designed by Sir Charles Barry after the previous palace had largely burnt down although not entirely and the interior decoration was conceived chiefly by Augustus Pugin and very quickly and very publicly there were debates about what sort of paintings might go into the rooms that he planned for the palace. I'm sure many of you are aware of this. It's a fascinating episode in early 19th century British cultural life. Now the decisions about which works of art would go into the new palace were made by the Fine Arts Commission. It was chiefly the creation of the Prime Minister Sir Robert Peel and its president was Prince Albert who of course was soon to develop a great passion for Lance's work. And the commission particularly favoured, again I'm sure you're all familiar with this, but it particularly favoured works like this. I just thought I'd show you a good Scottish example, this is by Dice. If you are being robed in the House of Lords this is the fresco that you can go and admire. Interestingly it dates from 1851 which is the period with which we are precisely concerned. The commission particularly promoted works of this sort, very grand themes based on Italian Renaissance precedents and of course ultimately based on frescoes as well. Strong influence of Raphael here. However when it came to the dining rooms in the House of Commons and the House of Lords there was a slight softening of this very rigorous agenda. And this print dates from 1849 and it shows one of the so-called refreshment rooms, in other words the dining rooms. And here it was suggested by the commission that there should be instead of the Italian Renaissance type works we've been looking at and I quote, subjects connected with rural scenery and the harvest and the chase, in other words hunting. So that was the key, that is the context in which our picture was originally intended to appear. And in fact it was probably for this particular room that Lancelot was commissioned to paint not one picture but three paintings for a thousand guineas, that was the offer. We have no idea what the other two were, it was quite common for him to take a long time to complete his commissions. So that's not in itself very surprising. We do know however that he thought very carefully about where the picture would be displayed. This is not Lancelot sadly here but we do know that he visited this room with David Roberts, the painter and also with Clarkson Stanfield, who was also involved in discussions about the works of art that might be shown there. And they actually took examples of their paintings into the refreshment room and they tested them by showing them on this wall, in other words opposite, I think that's the River Thames down there if one might imagine that. None of them were happy with that arrangement, with the light directly falling onto the pictures. They were much happier however with the idea that their paintings might hang on walls that were adjacent to the windows. So they would have the light casting from one side. And extraordinarily this seems to have been ignored in all the Lancelot literature but it's there, it's in Hansard because it's no less than Robert Peale who explains it all in the debate about the expenditure that was being spent on the various projects that were being considered. Lancelot in fact expressed concern about whether the subject was appropriate to this type of space, which I think is a fair observation. Should you have the monarch of the Glen on the wall while you're sitting underneath eating venison, that's the thing you need to consider here. In the end however the painting did not end up there for taste but for reasons of finance. The House of Commons, as we've heard, debated the cost of all the latest works that the Finance Commission was promoting and it decided not to endorse the growing expenditure. So he was not isolated, he wasn't picked out as being a particular victim of this sort of spending issue. There were a number of other works that did not end up in the House of Lords and so he ended up with the painting. Very prestigious commission but a sort of potentially disastrous outcome. However, although that may have been unexpected, for a man in his position it was not a problem as Lancelot had been enjoying considerable commercial success with paintings for a number of years and most especially with hunting pictures and pictures of deer. Including this work, which I think I'm sure is very well known to lots of people here, the wonderful sanctuary of 1842. Now he'd actually been painting deer from the 1830s onwards. He'd been visiting many estates, he'd been to estates across Scotland and across England but they were depicted in large numbers but it was only when he came to paint this picture which was for the Royal Collection that he painted an individual deer, an emblematic single stag and it's that painting that marks the progress that leads up ultimately to Monaco the Glen. Here we see a stag pursued by hunters. It's found refuge on an island on Loch Murray in the Highlands. It's a very beautiful but also a rather harrowing image I have to say. It looks as though the animals about to collapse. That's really what we're looking at although before this idyllic and quite beautiful sunset. What is interesting is that for almost all the pictures of this type and there are a number of them, he paints issues or subjects I should say a pursuit and a threat and there's real tangible danger in these images until he gets to paint the Monaco the Glen, which is quite a different type of picture. It is triumphal, euphoric, arguably the creature itself is in command of its environment as opposed to these pictures where it's of course a man that's pursuing the animal. He had invested clearly a very great deal of thought and care in this very prestigious commission and its power I think in part comes both from the boldness of its conception but also because of the incredible technical skill that he expelled. Amazing technical skill, very slick painting based on careful draftsmanship and when you get close to the picture this is what you see. It may not be a subject matter that appeals for all of us but I think one can't help but admire his skills. He was brilliant at describing textures and there is a wonderful fresh liquidity about it I suppose. It is in remarkably good condition as well. One key point about it has 12 points on its antlers or tines as they're called and it's that that defines it as a royal stag. Stags are named in different ways depending upon how many tines they have and that is why he is a monarch. As well as making the animal appear specific and crafting it in this extraordinary way he also gives the impression that the location in which the animal is the stag is presented is specific and identifiable and I'm sure the spectacular backdrop that he depicts here is related to at least some of those wonderful oil sketches I was showing you a moment ago. However it's been identified this backdrop as being in Argyllshire, Aberdeenshire and Stirlingshire and there are various rocks called Landseer rocks all over Scotland and just about every landowner worth their salt claims them. Okay so the truth is we do not know where it's located. It may in fact be a distillation of all these different experiences that he had and that relates neatly to the idea that it is an emblematic picture. It's a distillation of the natural wonders of Scotland but I can't tell you where it is. Okay so that's I think quite enough setting the scene really giving you a sense I hope of how this picture is so important both within his career and indeed his status as an artistic star really of the mid 19th century. I think now we should turn to the paintings subsequent and rather complex history which involves exhibitions as one might expect numerous reproductions and also some frankly quite bizarre forms of appropriation as well. In April of 1851 Queen Victoria and Prince Albert had breakfast at Buckingham Palace and he got on a horse and she got in her carriage and they went off to St John's Wood which is where Landseer's studio was. And they went to him sorry that I can't emphasise enough how significant that is and they went there for a private visit to study the six paintings that he had decided to show later that year at the summer exhibition of the Royal Academy. But it gives you some idea of the measure of his relationship with them that that was the way in which they travelled. And the Queen noted in her journal that she saw a particularly impressive work I quote a life size stag sniffing the air with mist rising from the mountains and of course that's our painting. It was shown in 1851 at the Royal Academy exhibition at that in that year as I'm sure you will know the Royal Academy was not based where it currently is. It was actually in the site of the National Gallery in Trafalba Square where that's where the exhibition was held and that's where our painting plus five others by Landseer were exhibited. They got great reviews. They got fabulous reviews the Landseer's but this was a particularly contentious and notorious exhibition because of course there are a number of works by the Pre-Raphaelites on show which led to a huge public row and ultimately to John Ruskin. It was a very interesting moment to have a painting like this on show. All the paintings were sold from the exhibition and the Monarch of the Glen was actually bought by the gentleman you can see over there Lord Lonsborough who was a diplomat and a liberal politician and the first of a series of wealthy aristocratic owners to enjoy the privilege of having the Monarch of the Glen at home. So the fact that the House of Lords Commission did not proceed was presented absolutely no problem at all to Landseer. And the picture remained in the public eye in spite of the fact that it went into a private collection straight away. It was engraved in this wonderful engraving by Landseer's brother Thomas I mentioned earlier on. And this was the first of numerous prints that were produced after it and they brought Landseer considerable income and he controlled essentially the copyright in the image something we tend to associate with perhaps more than contemporary artists but it was very much a hot issue at this moment as well. Henry Graves and Co paid Landseer £500 to publish prints after his brother's work £500. Remember he was going to be paid I think it was a thousand guineys to paint the picture in the first place. And initially 300 large format prints were sold and this is one of them and they cost ten guineys each. So we're talking about a large amount of money. This was a very serious commercial undertaking. Those were the large deluxe prints as it were and then there were numerous smaller prints which were not subject to the same copyright issues. The high quality engravings created after the painting were used as the basis for many many derivatives. I'm just going to show you a couple which I don't know very recently come across which I think are rather fascinating. Here we've got two interesting examples produced over the next 20-25 years. These are both cheques issued by American banks in the second half of the 19th century and if you look very carefully you can clearly see the monarch of the Glen appearing here and here and I'm quite certain that they didn't pay copyright in order to reproduce the picture in this way. But those derivatives are undoubtedly based broadly on the prints of the sort we've just been looking at by Thomas. What is fascinating about these is they indicate the quite rapid global nature of this painting's reputation. We're talking about America here but also I think they're rather fascinating because they come to indicate that there's a completely transferable sense of what the wilderness is. This is an image which is utterly associated with the Scottish wilderness but here it becomes any old wilderness. So you've got an American eagle there and you've got the stag here. So it takes on a completely different role and it's easy that it can do that. It's fascinating that it can do that. In 1884, just to rush on through the history of the painting, was acquired by another private collector, a man called Henry William Eaton, First Lord Cheslamore, who's I think a fascinating figure that we need to learn a lot more about. His wealth was derived from the silk trade with China and he had a large country house outside Coventry in Warwickshire and he's a very interesting man. He was a highly successful businessman who was a great enthusiast for contemporary British and French paintings. He owned actually a number of works by Lancel, including the Monarch of the Glen. He owned works by David Roberts and by Friff and Deloros's extraordinary execution of Lady Jane Gray. So there's a thought, can you imagine in a country house outside Coventry this man having on one wall we don't know exactly where the Monarch of the Glen or on another the execution of Lady Jane Gray. It's quite a heady mix I would suggest. The painting passed through other collections before being acquired in the 1890s by the person who really brought about the greatest transformation in its fortunes and that's this man, Thomas James Barrett, who was himself a very significant collector and above all is remembered as a pioneer of the advertising industry. He became as you can see here from the from the photograph managing director of payers and payers soap that is and he very famously said any fool can make soap but it takes a very clever man to sell it and that's of course precisely what he did and he did it I have to say rather brilliantly through aligning fine art, contemporary fine art with advertising. Most famously he did it with Millet's incredibly well-known painting Bubbles, which perhaps apart from one of the most reproduced 19th century painting, there was considerable debate at the time about whether this was an appropriate thing to do and this was discussed in the terrific catalogue for the Millet exhibition that was held a few years ago at Tate. And some people felt that this was a wonderful way to democratise art, others felt that it was very demeaning and sort of undermined artistic integrity, integrity forgive me. I think what's interesting is that Millet was consulted and he agreed and approved of this and that that really puts it in a sort of particularly fascinating light. Now it wasn't Barrett but it was the next owner of the lands here who learnt from Barrett's example and transformed its fortunes using the skills that Barrett had illustrated as a brilliant marketeer and it's this man, Thomas Dua, first Baron Dua who you can see up there. He was an incredibly clever whisky distiller and I could include lots of whisky jokes at this moment but I won't do that. And he cleverly blended whiskies and he used Barrett's ingenious technique of linking fine art with advertising and it was really from this point on that Lance's work took on a completely different life that enriched its global reputation and it was promoted as the monarch of whiskies. There's lots of puns to come, a huge number of puns to come as you might imagine. And this really did move it from being a Scottish icon to being a global icon. And it built on the I think formidable profile that had been already established through the printmaking or the type we've just been looking at. So it was a clever move and proved to be an incredibly lucrative move. In the wake of its associations with whisky it was also used on many, many other types of products without approval, almost certainly. And there are literally thousands of these and I'm just going to show you a small selection, some of which you will be familiar with. So shortbread, of course, Scotland shortbread. Royal Game Soup, it's a slightly less tasteful utilisation of the image I have to say. Butter, a little bit surprising. Most bizarre of all, the two in the foreground here, and again you can find your own, you can have fun trying to find them. Wine and Ashtray, which seems to me slightly odd, and beside it a cough cure which according to the label hardly ever fails. So there you go. It lends itself to just about anything that you would care to attach it to. Chiefly because it was associated with the quality of the whisky, so it's an association with quality. Now the familiarity that this engendered means that actually all that advertising could also inform perhaps more serious uses of the image, political and artistic. And I would like to touch on just a few of these if I may. There are again numerous examples but there are some especially witty and interesting ones. And I think this is one of the most fascinating and actually significant. This is the Prime Minister, Lloyd George, shown riding on the Monarch of the Glen. It's a very clever witty cartoon by Sir Bernard Partridge that are highly successful and inventive cartoonists. It appeared in Punch in 1914. Now, as I'm sure you'll remember, in Lloyd George's people's budget of 1909, he had increased land taxes and he was trying to redistribute wealth. And that is what this is a reference to. It's a pun on the name of course of the artist because the Monarch of the Glen, a new land seer. You see the rather crude pun there at the bottom. Why was the image used in this way? Well almost certainly because at that point before the First World War people were still remembering that the painting was originally intended for the House of Lords. There's a very clever play on the original location of the picture. And of course it was the House of Lords or many members of the House of Lords who were utterly outraged by Lloyd George's plans to redistribute wealth. Just as the picture could be utilised in a number of different ways, as Martin beautifully pointed out, the title of the painting can also be utilised in many different ways. And it was done to great effect by the brilliant witty writer Sir Compton Mackenzie, a very passionate nationalist in fact, although he wasn't in fact born in Scotland. He's the man who wrote Whiskey Galore, which of course became a great Eileen comedy, and he wrote The Monarch of the Glen, which was first published in 1941. And I'll show you here the original cover just beside me. And it recounts this delightful story of chaos and romance in a place called Glen Bogle, which doesn't actually exist of course, very very pleasing. But it's through this type of association that the title and the name has continued. And it was filmed just as we've heard in 2000, highly successfully by the BBC. And that starred Alistair Mackenzie and Julian Fellows. As well as providing literary inspiration, there were, as I've said, a number of visual artists who were drawn to either the title of the work or the image itself. Remember it's still in private collections now, it's not actually the painting, nobody's seeing the painting, it's not in the public domain, it's just being referred to through second and third hand images. And I think one of the wittiest of all the responses to it was this one. This is a fascinating black ink and wash study by Ronald Searle. Now you all know Ronald Searle, I'm sure is the brilliant creator of the Anarchic Centrinians, who could ever forget centrinians. And in 1956 he created for Punch magazine a series of pastiches of high Victorian works of art, reimagining them as he thought Picasso would. And here is Picasso's version of the Monarch of the Glen as seen by Ronald Searle. Now it's a particularly clever, clever, clever juxtaposition, because of course by the 50s and 60s, particularly high Victorian art, were completely fallen away from serious critical discourse and remained no longer popular precisely because of the rise of modernism, of which Picasso was the greatest exponent. And what Searle's doing is bringing the two together in this wonderful work. He makes it look a bit like Guernica. I'm showing you here in certainly the original drawing, it was published as a print in Punch in 1956. And you can look it up, it's terrific. And this leads us on to later and slightly more respectful responses, again which you've heard a little of. I think most interestingly that of Sir Peter Blake, who you can see here. And this is the terrific painting that Peter Blake created in 1966 after Monarch of the Glen for Paul McCartney, now Sir Paul McCartney. And they were having a discussion and they were talking about McCartney's interest in the Highlands in Scotland. And they were particularly talking about a painting of Highland cattle that he had then had recently acquired. And Blake said to him, OK, well I'll do you a Monarch of the Glen. And this was the result. He painted this picture. What's fascinating about it is it was not based on direct study of the original. It's based upon intermediary images, particularly postcards. Because Peter Blake, of course, is one of the key figures in the world of pop art, the father of pop art, and he made many references to Victorian painting, earlier painting in his work. He signifies that this is an appropriation through the rather jazzy label down there. You can see the label. That is actually painted on the picture as well. After Monarch of the Glen by Sir Edwin Lancer Peter Blake in 1966. So this icon of Victorian painting, which had plummeted along with so much other art at the time of people's approval, now becomes a kitsch icon. Perhaps that's the right description for it. And it was significant in a number of ways. Not least because it was through the discussion over this picture that the two men got to collaborate. So they were clearly enjoying looking at earlier art. And of course it was in the next year that they worked together on the cover of Sergeant Pepper's Lonely Hearts Club Band. So it's a pretty tangential link, but I think it's startling that Lancer, who we started with back in 1849, unknowingly plays a very tangential role in the creation of one of the sort of era defining and revolutionary images of the 1960s. It is interesting that Lancer's work appealed in the world of music because it has also proved to be an inspiration for other graphic designers who especially are associated with the music industry. I'm just going to show you one example here. A fascinating designer called Peter Savill, he was the founder of Factory Records and he's produced many CD covers and images for the covers of albums as well. And he produced an incredibly beautiful and subtle print with this rather wonderful, wonderful title. After, after, after Monica the Glenn, Bysa Edwin Lancer, Bysa Peter Blake, by Peter Savill. And that print, which was produced fairly recently, was used as the basis for the tapestry that I'm showing you here. This tapestry was woven actually to the full scale of the original painting. So what are we looking at? There is a very beautiful print. There is an intentional blurring of the image, which of course refers to the repeated reuse and the way in which the reproductions have degraded the image, I suppose. But it's also a post-modern tribute to this remarkable picture. I think it's interesting also that it's finally been reproduced through tapestry. The Dubcot Studios are the great tapestry workshop in the UK, the most active one at the moment. And there's incredible craft that's gone into the reproduction of that print. So we start off with a degraded image, but we move on to something that's very sophisticated. I understand this has proved so successful. They've just produced another one. And if any of you are interested, it's on sale for £45,000. So if you want a tapestry at home of the Monica the Glenn based upon Peter Savill, then there are people to go and see. I think it's right to point out that as well as all these artistic responses, of course there's been very serious scholarly responses to more generally to Lancer and especially to this particular painting. And the success of these and the brilliance of these sits entirely at the door of Richard Ormond, who's produced the most wonderful exhibitions on Lancer that are putting back on the serious scholarly map. There's a superb exhibition some years ago at the Tate and also then in 2005, the exhibition that we held in Edinburgh that focused a bubble on Lancer's Love of Scotland. So alongside this sort of popular rehabilitation, there's been a very, very important scholarly rehabilitation as well. Now following the acquisition of the painting last year by the National Galleries, it was sent on tour to four venues around Scotland and that tour is just about to come to an end. And in each of the venues, the curators were given freedom to do what they wanted with the picture and to respond to it in the way they wanted. And the responses have been staggering. In one instance, sorry, it was a bad pun. So in one instance, they decided that there was going to be a public showing of Bambi, the Disney film, for families which was completely oversubscribed. And in Inverness, something rather different happened. There's an artist and lecturer called Ross Sinclair who's a reader in contemporary art at Glasgow School of Art. And for many years, he's had a fascinating relationship with Lancer, a combative, provocative relationship. He's a very interesting figure indeed. That, by the way, is him. That is Ross Sinclair with the tattoo on his back looking at the painting. And so, alongside the very respectful National Guards of Scotland exhibition, which you can see the poster for here, there was something altogether rather different and quite exciting going on. And I think it's wonderful that these two things should have come together. He's a very interesting commentator on Victorian art and on Lancer in particular. He has, sorry, I'm speaking now on his behalf, which I shouldn't really be doing, but he has great respect for Lancer as an artist and the craft of his work. But what he's troubled by, as are quite a lot of other people, is the enduring romantic image of Scotland that it is aligned with. The so-called Balmoralisation of Scotland. It's a very ugly word, I grant you, but nonetheless, that is what he's concerned about. And he created a very, very provocative installation which was shown right beside the painting. We were a little apprehensive about this, as you might imagine. But large numbers of visitors came to Inverness, and they were absolutely delighted both to see the painting in the original because it is riveting for all the reasons that I've been explaining, but also to think about it in the context of a very complicated installation like this, which features film, music, neon, and rather provocative images as well. So it continues to stimulate debate, and it particularly continues to stimulate debate in Scotland today because there are some who will give no time to an archaic trophy, as they see it, because they are very proud of a sort of modern technological nation, and there are others who see it absolutely as an emblem of the natural beauties, the physical beauties of Scotland. So it continues, the debate very definitely continues. It pops up all over the place in very unexpected ways, and I've just got one or two final examples to show you, really to give you a sense of the richness of the responses to it. Slightly more deferentially, if I can put it like that, this remarkable photograph was acquired quite recently by the National Gallery of Scotland. It's by a brilliant photographer, a man called Julian Calder, and what you're looking at is not a photoshopped image. So Her Majesty the Queen is actually standing beside the burn on the Balmoral Estate, fully dressed as Queen of Scotland's sovereign of the most ancient and most normal order of the thistle, and chief of the chiefs. Now that's quite a mouthful. So when we announced the acquisition of this picture, there was a huge flurry of interest in the media, and of course all the headlines said this is the real monarch of the glen. Now, perhaps a terrible pun I grant you, but nonetheless I just wanted to give you a sense of how in so many different ways this image and its title proves resonant. Sometimes there are very unexpected responses, most especially through the media. That's perhaps predictable. It's a wonderful painting, a fascinating portrait, and it seems interesting that it was aligned with the Lancet in that way. I have to say I woke up with a great shock on the 25th of October of last year, because there are a few art historical projects, exhibitions, tours or acquisitions which result in headlines all across the Sun newspaper. And you might imagine that colleagues in our press office were utterly horrified and mortified when this appeared. It was a terrible pun, and essentially you can see what the story suggested. It was actually in fact a publicity stunt, essentially run by a hotel and an estate in East Anglia who claimed that Lancet had visited it, which he almost certainly did, and they claimed that they could identify the very family from which the stag came, which was used as the model for the painting. Now, why am I showing you this? Because of the key bit, the painting, the monarch of the Glen, is actually English. So this remains a very loaded statement, particularly at the moment, particularly in the political relationship between London and Edinburgh right now, as you might imagine. We have this very fascinating debate to navigate because what is arguably, globally, one of the most famous of all Scottish paintings is by an English artist. So how do we never get that? What we do is we hang it in the Scottish National Gallery and it looks very splendid there, and we make the point that it's not presented here as Scottish art, but Scotland's art. That's a very important distinction because there are many other artists turner, I suppose, as perhaps the most obvious example, an Englishman who came to Scotland, painted Scotland, fell in love with Scotland, just as Landseer had done, and we celebrate that. But if we put it under that label, then it's comfortable in Edinburgh. I know that sounds like a very strange thing to say, as we're all sitting here in London, but you might imagine that there's quite a different debate in Scotland about the status of such a picture. Finally, there's lots more research to do, and there will undoubtedly be many more responses to this amazing painting. I hope I've demonstrated in the last 40 minutes or so something of the starting variety of responses that is inspired. I think in part this is explained by the romance and the drama that it encapsulates. Whatever one's politics, it does distill a very alluring view of the Victorian image of Scotland. Victorian painting may have fallen away from favour in the 20th century, but it has rightly endured, and its power perhaps in part lies in its incredible simplicity. It may be a sophisticated piece of painting, but it is a very, very simple and powerful image, and that means that it has a quality of recognition which lends itself to advertising, and just about any other artistic or political agenda that you want to harness to it as well. I think that's really one of the keys to understanding it. It may have been used, and it's been abused, and it's been transformed, and it's been celebrated. I think ultimately it remains impressive, however, because Lancelot was an extraordinarily accomplished painter. Thank you very much.