The Life and Times of Francis Brodie

or

THE PRIME OF MR FRANCIS BRODIE

Francis Brodie was undoubtedly the pre-eminent 18th-century Scottish cabinet maker.  His confidence and ambition distinguished him from his peers in Edinburgh, and his use of the architect Palladio as a leitmotif for his business was unique in Britain. He is also unusual for the amount of information we know about his life, helped in part by the records of the notorious life, and death, of his infamous son William ‘Deacon’ Brodie as well as by his own entries in the family’s bible.

 

Joseph Brodie Portrait of his brother Francis Brodie  Private Collection, Scotland

 

Brodie was born on the 24th June 1708, the eldest son of Ludovick Brodie of Whytfield, a Writer to the Signet[1], and Hellen Grant.  In the words of a contemporary, he

was a gentleman who was much respected; he was from a branch of a good family in the North of Scotland.  He carried on the business of a Wright, Cabinet Maker and Upholsterer, to a very considerable extent, and was employed by some of the best families in this part of the kingdom.

A Robertson Anecdotes and Other Curious Information Concerning William Brodie Edinburgh 1788

The ‘good family’, from which Ludovick was descended, were the Brodies of Brodie Castle[2], while Francis’s wife Cicel and mother Hellen (who were cousins) were the nieces of Sir Francis Grant, Lord Cullen, also a famous lawyer.[3]

Given this legal background the profession of a cabinet maker was not the most logical step for Francis, especially as the eldest son, but there was clearly an artistic strain in the family.  His brother Joseph[4] was an accomplished painter who has left us portraits of several members of the family, including Francis.[5]  Besides, Francis clearly intended to be no ordinary cabinet maker, and put his education and background to the best possible advantage.[6]

First, however, he had to train, and on the 30th June 1725 he was registered as an apprentice with John Antonius.  Little is known about Antonius but his father Henry was Deacon of the Wrights from 1717-19 and died in 1723.  John presumably inherited his business.  Brodie served a long apprenticeship of ten years, and on the 1st November 1735 was appointed to make

a machogany Desk with drawers below the same, and to draw the draught of a press of the Corinthian order after Palladio.[7]

It is singularly appropriate, given later developments, that Brodie should have been given a Palladian Order to draw.

Within a year he had four journeymen working for him, and his first known account, to Sir John Clerk of Penicuik, is dated March 1737.  A measure of his ambition is that over the next four years he employed a further nineteen journeymen.  Between 1737 and 1769 he took six apprentices (William Ross, Charles Hay, Robert Mclean, Alexander Lawson, Thomas Muir and Thomas Vass), generally having two at any one time.

I know of almost fifty patrons  for whom Brodie worked, amongst them the Dukes of Hamilton, Gordon, Montrose and Argyll, the Earls of Dumfries, Traquair and Stair, Lords Glenorchy, Milton, Arniston and Braco, as well as the Baronets John and James Clerk, Archibald Grant, John Kennedy and Charles Gilmour (see below for further details).  Francis Bamford, author of the groundbreaking Dictionary of Edinburgh Wright and Furniture Makers[8], suggested that Brodie was a Catholic and that this may have guaranteed him an immediate circle of like-minded patrons, as it seems to have done for Gillows in the north of England, but the above list does not bear this out.  In fact quite the opposite; to take just a few examples the Gordons and Hamiltons had converted very publicly to the protestant cause and Lord Glenorchy, Sir John Clerk and Lord Arniston were very active Unionist politicians; he was also a Freemason.

In 1739 Brodie’s workshop was ‘overagainst the Guard, North Side of the Street’, the Street being the High Street and the Guard being just up from the Tron Kirk.  In the following year he married, and before his first child William was born in October of 1741 he had moved his workshop, wareroom and presumably home to the ‘Second Close above the Old Bank, Lawnmarket’.  This close was also known as Cullen’s Close, as Lord Cullen had lived there, the above mentioned relative of Brodie’s wife and mother, and this connection must have either facilitated or inspired the move.  Brodie and his business remained there for the rest of his life, the close becoming known as Brodie’s Close (as it has been ever since), the whole only being sold with his son’s bankruptcy and subsequent death in 1788. [9]

The house was described by Robert Chambers in the early 19th century.

The outerdoor is remarkable for its curious, elaborate workmanship.  The house is well built, and the rooms exhibit some decorations of taste.  The principal apartment, of which the ceiling is remarkably high, contains a panel painting of the Adoration of the Wise Men, and has an uncommonly large arched window to the West.

It seems likely that this painting was by Alexander Runciman, in which case it is possible that it was commissioned by Brodie himself, or perhaps it was a work of his brother Joseph.  The possibility of such pretension is borne out by the remarkable engraving used by Brodie at the top of most of his bills.  It gives an indication of his ambition and its use predates Brodie’s move to Cullen’s Close, appearing first in 1738, only a couple of years after he completed his apprenticeship.  He was still using it in 1758, with minor changes to the text, and only replaced in 1767 when he took his son William into full partnership.  The new design consisted simply of playful rococo foliage surrounding nine diminishing lines of text; this was undoubtedly more fashionable, but also less interesting, which may be an appropriate judgement on William’s influence.[10]

Francis’s billhead, however, was unique in a Scottish, or even British, context.  The only known billheads of other cabinet makers and upholsterers are of the fairly standard pattern of a decorative design surrounding a specific piece of furniture, or other emblem, which normally also served as the address and shop sign.  Consider for instance William Lamb’s Gilded Sopha, William Murray’s Royal Tent, James Caddell’s Crown and Cushion, or indeed Young and Trotter’s Pelican.

The overall pattern of this engraving had a particular source. The billhead used by Robert and John Hodson between 1730 and 1786 is of striking similarity to Brodie’s and must have been the inspiration for it.  The Hodsons had extensive Scottish connections and could number the Dukes of Atholl, Gordon and Montrose among their patrons between 1724 and 1745.  Of the known Hodson accounts for their Scottish patrons all but those for the Duke of Gordon pre-date the appearance of Brodie’s billhead and he certainly worked at one time or another for the Dukes of Gordon and Montrose.   Brodie may have had opportunities to see the billhead as this furniture passed through Edinburgh on the way to its final destination, or perhaps if he was called in to repair damage which occurred in transit, a common occurrence.  A more interesting possibility is that a patron who was clearly aware of Brodie’s ambition, or wished to foster it, suggested that he copy the engraving.

 

Brodie’s use of the billhead is first known only three years after he completed his apprenticeship, and the quality of the engraving is a substantial improvement on the Hodson example.  The most obvious and significant differences are the Palladio motif and the addition of the eagle pier table, a type strongly associated with neo-Palladian interiors[11].  Also, there is the fashionable updating of the chair and pier glass.  The similarities speak for themselves, but the correspondence between the text of Brodie’s first example and the Hodson text is particularly striking, even down to the initial character of the lettering, which he later changed to a more elegant copperplate.

The major distinction of this engraving, especially in the context of its use by a cabinet maker, is the presence of a bust at the centre, inscribed above Palladio and below Fras. Brodie. That the bust represents Palladio and not Brodie, as has been suggested, becomes clear with the recognition that Brodie’s shop was commonly referred to as being at ‘Palladio’s Head’.  It is noteworthy that Samuel Smith, another London cabinet maker with a disproportionately large number of Scottish clients, had his shop in London at ‘The Inigo Jones Head’.[12]

The source for this portrait is Sebastiano Ricci’s design for the frontispiece of Leoni’s 1715 edition of The Four Books of Palladio.  This was a completely fictional portrait – Palladio was in fact bearded and balding – but was nevertheless the accepted one at the time, even being used by Colen Campbell in his 1728 edition of the First Book[13].  Did Brodie own a copy of these books, or again was he lent one by a patron?  Whatever the circumstances, it was an unprecedented move at that time for a cabinet maker to associate himself so strongly with the arts of architecture.  That Brodie chose Palladio as his muse is a good indicator of his knowledge not only of design and fashion but also of the tastes and pretensions of his potential patrons. It was sixteen years later that Thomas Chippendale, who was content with a chair on his trade card, stated in the preface to The Director  that

Of all the Arts which are either improved or ornamented by Architecture, that of CABINET-MAKING is not only the most useful and ornamental, but capable of receiving as great Assistance from it as any whatever. [14]

Brodie had clearly realised this and wished his prospective patrons to know it.  He not only used Palladio’s head when he placed notices in the newspapers, but also as a book plate, and, significantly, as his seal.  William Adam, the pre-eminent architect in Scotland at the time and father of Robert, and Sir John Clerk both had intaglios of Inigo Jones’s head, and Adam certainly used his as his seal from about 1740.  His son James used Palladio’s head, but not until the 1750s.  Brodie was moving in rarefied circles with these associations, in a manner which was unparalleled among his peers throughout Britain.[15]

Brodie had extensive professional links with William Adam and it is possible that Adam may have fostered his career in several ways.  As Adam wrote to the Duke of Hamilton

I sent this day to Mr. Broddie and talked with him about chairs he’s the best man in town and I doubt if anybody else would please. I have sent from him a pattern of some chairs he has ready. The bottoms are to be wood with stuff but the backs are Walnut tree. He has some for the Dutchess of Gordon which are to be covered back and bottom, but he cannot manage to dispose of them. They are made of elm no part is seen but the feet which are of the form of the scitch also sent. He says to make new ones you’d not be done sooner than the middle of Jan.

Adam clearly thought highly of Brodie, was a regular customer, and they had many mutual clients, not least the Dundas’s of Arniston, Brodie’s cousins by marriage.

This letter’s tantalising mention of ‘scitches’ brings up a further relevance of Brodie’s engraving.  In the absence of any drawings these are virtually the only Scottish eighteenth century furniture designs of any sort that are presently known.  It seems likely in view of the above description that the chairs made for the Duke of Hamilton would have been similar to that depicted on the billhead. They were described in the final account as ‘Six Mahogany Chairs with Eagles feet 25 sh/ each’, so perhaps were covered ‘back and bottom’ like the Duchess of Gordon’s, or were one of those rare examples of solid splat back chairs made of mahogany. At any rate they must have been ‘new ones’ as they were not invoiced until the 14th of January.

Brodie generally called himself a Wright, although he always appended the trade of Glass Grinder as well, but he was also involved in an extraordinarily diverse range of activities generally associated with the work of a wright and cabinet maker as well as undertaking, as his billhead explained. He carried out numerous funerals including those of the Earl of Aberdeen in 1745 for £26 13/ with a ‘Wainscoat Coffin, the inside run with Wax, laced with jappanned Tacks & Silk ffringes, and mourning Cords with Silk Tassels £20’ (a sum reduced to £15 on payment) and Ms Henerita Duff, sister of Lord Braco, in 1748 for £14 5/ 6d.  He advertised frequently between 1751 and 1769, offering the expected range of furniture made of ‘well seasoned woods’ and ‘manufactured in [his] own shop, by the best workmen’; he could also offer upholstery services and goods, and frequently charged for ‘workmanship’ with relation to upholstery, although he was certainly primarily a cabinet maker.  He also worked extensively as a wright, his billheads and notices always offering ‘House, Carpenter and Joiner Work’, and numerous accounts testify to this; a notice in the Edinburgh Evening Courant in 1757 announced that ‘Mr Brodie … gives plans and designs for buildings’, and he erected several buildings for himself. A typical account to Thomas Dundas of Querrel in 1753, for instance, details joiner work, making and hanging sash windows, ‘altering, doors & shelves etc. of two men @ 12 days’, painting rooms and a ‘press bed Mahogany Coulor in oil’ etc to a total of £19 4/ 9d. He obviously had extensive property interests and frequently advertised lodgings for rent (no doubt his own) as is confirmed by several letters (for instance, he let rooms to the surgeon John Balfour in the 1760s).  His accounts and advertisements also give testament to the huge variety of goods in which he dealt at different times including ‘chimney tiles’, ‘japanned work’, ‘brass work’, snuff-boxes, ‘paintings on glass’, tiles, and wrights’ tools etc. As well as his ongoing glass grinding business in the early 1760s he established a ‘factory’ for dressing flax ‘at the foot of his yard in Cowgate’, although this clearly less than successful endeavour was wound up in 1769.

The businessman in Brodie was never far from the surface. In 1766 he appealed in emotive but pragmatic words to the Lords of Council and Session for compensation due him because of a road widening scheme.

The great improvements everywhere making in the City, and its Environs, with the particular attention given to the Avenues leading to it, give him much pleasure, and he shall never allow his private interest to stand in the way of schemes proposed for rendering it more commodious, but will cheerfully part even with his property for the publick conveniency; he cannot, however, afford to part with it for nothing, and it will not be said or expected that he ought.

This sense of public duty, tempered by private interest, was evident in his representation within the guild of wrights and masons, known as the Incorporation of Mary’s Chapel, after its meeting place.  His first practical involvement with Mary’s Chapel came in 1749 when he was appointed Boxmaster (effectively the treasurer) for the following two years.  During this time he did almost thirty pounds worth of work for the Incorporation.  In 1775 he was elected Deacon (the master), a post which he seems to have held for the next six years, being succeeded by his son, who remained a Deacon until his death in 1788.[16]  In 1775 he had also been elected as one of the six Deacons from among the fourteen trade Incorporations who had a seat on the Town Council, and in the following year he was elected Deacon Convener of all the Trades.  These were exciting political times for the Town Council and Brodie played his part, even being immortalised in a satirical poem:

Fy let us a’ to the Chamber,

The Convener will surely be there,

And there will be tradesmen in plenty …

There will Francis O’Brodie

Who opposed us once or twice …[17]

The dreadfulness of this verse should not conceal Brodie’s celebrity; he was, not surprisingly, opposing the camp of the merchants and Sir Laurence Dundas (ironically one of the era’s greatest patrons of cabinet makers) and arguing for more power and representation for the Trades.

Of course, despite running the risk of being satirised, the incumbent Deacon had the benefit of first refusal on wright work being commissioned by the city.  Brodie took full advantage of this, charging for over three hundred and twenty five pounds worth of work during his tenure[18], including ‘hanging the Bells in High and Tron Church Steeples’, ‘making water spouts for conveying water from the New [South] Bridge’ or building a shed for the ‘fire engine’.  His son in turn took advantage of his position as Deacon to carry out work for the town, including building a new scaffold, in an act of heroic irony.

Brodie’s family legal background never seems to have entirely left him and he was rarely reluctant to sue for payment, even when his own (distant) family was involved (there are numerous cases in the Court of Session records, including those regarding the debt of the Brodies of Brodie – see note 2). Correspondence survives between Brodie and Robert Ewing of Craigtoun, for instance, concerning a dispute over the quality and condition of furniture supplied in 1753; the dispute was settled in Brodie’s favour ten years later and he was paid in full, plus interest on the amount owing. As he himself wrote ‘& as for dirty words thrown out upon my work they are below my notice, Sir’.

Francis Brodie was obviously a significant cog in the life of Edinburgh during this period, and this was reflected eventually by his election to the Town Council.  He was successful and respected, and if of a litigious bent that is understandable given his family background.  He was reputed to have had an income of some nine hundred pounds a year by the time he died (his journeymen perhaps earned twenty), a fairly spectacular sum which speaks for itself, and his status during this period cannot be overestimated.  When he died on the 1st June 1782, three weeks before his seventy fourth birthday, and mercifully before William’s demise, he had been a widower for five years and was survived by only four of his eleven children.  His death from ‘palsy’ was reported in the Edinburgh Advertiser and the Caledonian Mercury, and duly noted in the Brodie Family Bible by his daughter Jean (see below).  She included her own epitaph, describing him as

an honest man, an affectionate husband, an indulgent parent, a faithful friend and a generous master.

Patrons and furniture

There are extant accounts from Brodie for almost fifty clients, exclusively in Scotland, the aristocratic patrons mentioned above as well as numerous other landed and metropolitan clients such as Francis Charteris of Amisfield who paid Brodie over £160 for furniture between 1752 and 1761, including a ‘Cheese Boat & a pair sugar Breakers 10/’, and ‘6 small Mahogony Tables £2   11/’, and of course the Edinburgh town council. Examples of furniture he manufactured include giltwood eagle tables for the Dukes of Hamilton and Gordon (‘A marble table supported by an Eagle guilt in Burnisht gold £16’) and the Earl of Dumfries; a ‘French wallnuttree Clock:Case £2 15/’ for Robert Ewing of Craigtoun in 1740; a ‘Chest of Drawers made of Pear Tree and Stained black £2 2/’ for the Earl of Traquair in 1748; a ‘A solid mahog charter chest wt carved feet and a drawer £5 10/’ in 1741 for the Duke of Gordon; countless chairs including for instance, as well as those mentioned, eleven ‘solid Elm Chairs with large Leather Seats 11/ each’ and six ‘Mahogany Chairs stuft back and seat 15/ each’ for the Duchess of Montrose in 1742. Finally, a letter dated 2nd April 1753 to Lady Braco gives a good insight into Brodie’s working methods and character: ‘

Inclosed is my Acctt of ffurniture which I hope you’ll find reasonably stated; Ms Duff’s Drawers being made in haste are not so good work as I could wish, but against Your Ladyships return to Town shall have a better in their place; I have Cutt out the two setts of Chairs, the Dining & Card tables and as they are all fine wood hope they will give ffull satisfaction; I believe your Ladyships drawers would look better (as the pillar betwixt the Windows is wide) of a pair of brass handles on the Ends, I have sent and shall lett you have them att my Cost which is 5/.

I am with the greatest regard your Ladyship’s most humbl & obliged Servt,

Francis Brodie

Unfortunately, given the breadth of his activity over four decades, only a few pieces of furniture made by Brodie can be confidently identified.  However, there are several items now at Dumfries House, Ayrshire, made for the Earl of Dumfries in 1753, including an eagle table similar to that on his billhead ‘To a Marble Slabe suported by an Eagle guilt in Burnisht gold’, a padouk ‘Lady’s Closet’, a ‘Sconce glass the frame Carved & guilt in burnisht Gold £6 12/’, a ‘Chimney Mirror & frame £6 6/’ with ‘a pair of carved brass Arms 10/’ and a corner cupboard with brass stringing, a recurring feature (all illustrated in Christie’s 2007 catalogue); several pieces including gilt mirrors, tables and linen presses made for Francis Charteris between 1752 and 1761 for Amisfield House, East Lothian but now at Gosford House, East Lothian; a remarkable clock case at Arniston House, Midlothian, one of William Adam’s most magnificent interiors, for which Brodie charged Robert Dundas 7 guineas in 1739 (a ‘Mahogany Clock Case carved and guilt for the Hall att Arniston’); and a further giltwood eagle table now at Holyroodhouse which was listed in an inventory of the apartment there of his son Lord Adam Gordon in 1796 and may be the one made for the Duke of Gordon (see above – illustrated Swain, ‘Furniture for the French Princes at Holyroodhouse, 1796’ Connoisseur January 1978 and in Bamford, Furniture History 1993). Other pieces can be attributed to him, notably an extraordinary chair (and another associated one sold by Malletts in 2015 but previously in the Scottish trade) surmounted by a gilt eagle, held in the collections of Leeds City Art Galleries at Temple Newsam (and illustrated in the catalogue); and in the collection of the National Museum of Scotland a bureau bookcase, veneered in padouk and with brass stringing, which can reasonably be attributed to Brodie on the grounds of stylistic and technical similarities with the Dumfries House ‘Lady’s Closet’ (it was reputed to have come from the sale of William Brodie’s effects in 1788). Note also the linen press on view in the NMS attributed to William Brodie which has strong affinities with the linen presses at Gosford House.

The Brodie Family Bible

This is an extraordinary survival and includes a full description, in Francis’s hand, of the births and deaths of his family members.  These warrant quoting in full as they are an amazingly immediate, intimate and moving bridge to the past.  The Bible is a fine copy of the folio edition produced by the famous Edinburgh printer James Watson in 1722; it comprises the Old Testament, the Apocrypha, the New Testament, and King James’ version of the metrical Psalms.  Brodie has added his book-plate to the front board and has inserted between the Old and New Testaments a manuscript register of births, baptisms, and deaths occurring in his family.  These begin with his own birth in 1708, and include that of his wife, Cicel Grant, in 1718, their marriage in 1740, the births of their eleven children, most of whom died in infancy, and the deaths of other relatives.  The entry for their eldest son William, Deacon Brodie, has been excised.  The bible is in the collections of the City of Edinburgh Museums.

Edinburgh, the 24 June 1708, was born I Francis Brodie, now Wright and Glass: Grinder in Edinburgh, Son to Ludovick Brodie, Writer to the Signet, and Hellen Grant his Spouse, was baptised by the Reverend Mr. Innes, in presence off [list never added].
Edinburgh, the 17 August 1718, was born betwixt 11 and 12 att night, Cicel Grant (now my Spouse) Daughter to William Grant, Writer, and Jean Broun, his 2d spouse, and was baptised nixt day by the Reverend Mr. Freebairn, in presence of the above Ludovick Brodie, John Grant and Allexander Gordon, Writers &c., named after Mrs. Cicel Rentoun, Sister to the Laird of Lamerton.
Edinburgh, the 20th October 1740, We the above Francis Brodie and Cicel Grant was maried in Her Father’s house by the Reverend Mr. Wallace, Minister in Edg. before these witnesses, viz., our two fathers, John, Joseph, and Hellen Brodie’s my Brother’s and Sister, Ludovick Allexander, and Jean Grant’s her Brother’s and Sister, and John Grant, Writer to the Signet, my Uncle and her Cousin.
[Here followed the entry of the Deacon’s birth, which has been cut out of the page, as above mentioned.]
Edinburgh, the 22 September, 1742, was born att 6 in the morning being Wednesday, our Second Son and deied about 11 oclock that Forenoon and was buried that evening in the Greyfriars Church Yard, two double paces to the West side of the narrow road opposite to Harley’s Tomb, where a Great many of his Relations are interred.
Edinburgh, the 18 October 1745, was born betwixt 7 and 8 in the morning, being Friday, Hellen Brodie, our third child, and was baptised that same afternoon by the aforesaid the Reverend Mr. Mathieson, Minister in Edg., in presence of her two Grand Fathers, Hellen Brodie her Aunt, Ludovick Grant her Uncle, and John Grant, Writer, her granduncle, named after Hellen Brodie, her Grand Mother by her Father (who died the 15 December 1725).
The above Hellen Brodie contracted a sore throat, which in a few days occasioned her death on the 13th of August 1746 att 11 oclock forenoon, being Weddnesday, and was buried the nixt day in the evening att the above place beside her Brother. She was 9 months and 20 days old and a very agreeable Child.
Edinburgh, the 1st November 1747, was born 10 minutes after 5 in the morning, being Sunday, Ludovick Brodie, our Fourth Child and was Baptised that same afternoon by the Reverend Mr Glen, Minister in Edinr. in presence of his two Grand Fathers, Hellen Brodie his Aunt, and Ludovick Grant his Uncle, named after Ludovick Brodie his Grandfather.
The above Ludovick Brodie took a Chincouch, which in six weeks occasioned his death on the 14th of August 1748 att 12 oclock Forenoon, being Sunday, and was buried the nixt day in the evening att the above place beside his Brother and Sister. He was 9 month and 14 days old and a very agreeable, Strong Child.
Edinburgh, the 16th Jully 1749, was born half an hour after six in the morning, being Sunday, Francis Brodie, our Fifth and was Baptised that same afternoon by the Reverend Mr Glen, Glen, Minister in Eding., in presence of his Grandfather Ludovick Brodie, Hellen Brodie his Aunt, Ludovick Grant and John Brodie his Uncles, &c. Named after myself.
Edinburgh, the 16th October 1750 was born half an hour after Twelve in the morning, being Tuesday, Ludovick Brodie, our sixt{240} Child and was baptised that same afternoon by the Reverend Mr Wallace, Minister in Eding, in presence of his two Grand Fathers, Hellen Brodie his Aunt, Mrs. Grant his Aunt, and Mrs. Grant his half Aunt, John Grant his grand Uncle, and John Brodie his Uncle, named after Ludovick Brodie his Grand Father.
By Act of the British Parliament, the Gregorian Kallender was introduced in Place of the Jullian, and in consequence of this, the day after the 2d of September (by leaving out eleven days) was the 14th of September, which makes the forementioned events to fall on the following days. viz.—[revised dates omitted here]
Edinburgh, the 7th November 1752, betwixt 12 and 1 in the morning (being Tuesday) was born our Sevenths Child, and that same forenoon was baptised by the forementioned Mr. William Wallace, in presence of his two Grand Fathers, Mr. John Grant his Grand Uncle, Mr John and Mr James Brodie’s his Uncles by the Father, Mr. William and Mr. Ludovick Grant’s his Uncles by the Mother, and Mrs. Hellen Brodie his Aunt by his Father, named after John Brodie his Uncle.
The above John Brodie, upon the 15th January, 1753, (being Monday) took a Sudden illness and deied betwixt 6 and 7 in the morning and was buried in the before mentioned place. He was a very lively, well proportioned, well loock’d and thriving Child, to appearance, and was 9 weeks and 6 days old.
Edinburgh, the 28 February 1754, betwixt 2 and 3 in the morning (being Thursday) was born our Eight child, and that same day was baptised by the forementioned Mr. William Wallace in the presence of her two Grand Fathers, Mr John Grant her Grand Uncle, Mr James Brodie her Uncle by the Father, Mr William and Mr Ludovick Grant’s her Uncles by the Mother, and Mrs. Hellen Brodie (now Mrs. Rintoul) her Aunt by the Father, named Cicel after her Mother.
Edinburgh, the 26 May 1756, ten minutes after two in the morning (being Wednesday) was born our ninth Child, and that same day was baptised by the Reverend Mr David Rintoul, one of the Ministers in Kirkcaldie, in presence of her two Grand Fathers, Mr John Grant her Grand Uncle, Mr James Brodie her Uncle by the Father, Mrs. Rintoul her Aunt by the Father, &c., named Margaret after her Aunt in Law Mrs Grant, spouse to Mr Ludovick Grant her Uncle by the Mother.
The above Ludovick Brodie, our Sixt Child, died the 3d of June 1756 (being Thursday) att four o clock in the morning of the Small Pox, aged 5 years 7 months and 6 days, and was buried in the above mentioned place; he was a beautyfull, genteel boy, had more{241} prudence than most of his age, which, joined to a great deal of vivacity, benevolence, and kindness in his disposition, made him beloved by every one who knew him.
Mr Ludovick Brodie, Clerk to the Signet, my Worthy Father, died of a Fever, att his own house in Edinburgh, the 16 June 1758 att 1 o clock afternoon, aged 86, he was a very long time in business (and before he died was the oldest Clerk to the Signet) and bore a very fair character, being honest in his transactions and benevolent in his disposition, embracing every opportunity of doing good and charitable Actions to mankind in generall and to his Relations and Acquaintances in particular; Religious without ostentation, an affectionate Husband (to my Mother, Hellen Grant, his only wife, who died likewise of a Fever the 27 December 1725. She was a pious woman, a dutifull Wife and an affectionate Mother,) and he was likewise a kind Parent and a constant and sincere Friend. As to his person, of a midle stature, strong, robust, and well proportioned, had an open and manly countenance, was burried the 19th Curt. in the above mentioned place.
Edinburgh, the 2d. February 1759, being Friday att —— was born our tenth Child and that same day was baptised by the above reverend Doctr. William Wallace, in presence of her Grand Father Mr William Grant, Mr. James Brodie her Uncle by the Father, Mr. Ludovick Grant and Mrs Grant her Uncle and Aunt by the Mother, Mr. William and Hellen Grant’s’ her 2d Cousins by the Father, and named Jean after her Grand Mother and her Aunt by the Mother.
Edinburgh, the 31 of Jully 1760, being Saturday, att 1 in the morning, was born our eleventh Child and that same day was baptised by Doctr. Patrick Cumming, Minister in Edinburgh, in presence of her Grand Father Mr Willaim Grant, Mr James Brodie her Uncle by the Father, Mr Ludovick and Mrs. Grant’s her Uncle and Aunt by the Mother, Mrs Gordon and Mrs Campbell her Aunts by the Mother, and Mrs Hellen Grant her 2d. Cousin by the Father, and named Jacobina after the above Mr James Brodie her Uncle.
Mr William Grant, Writer in Edinburgh, my wife’s worthie Father, died of old age the 18 of January 1762, att 8 oclock in the morning, in the 100 of his age, he was a very long time in business, had a very fair character for honesty in all his transactions. Religious without ostentation, a good Husband, a dutiful Parent, and in his own lifetime did a great many good and Liberall actions, particularly to his Children, Grand Children and great Grand Children, who were very numerous. As to his person, he was of a midle stature, well Proportioned, of a Fair and comely Countenance, and was buried the 21 curt. in the above place.
On the 19th of February 1768, being Frieday, a little after one in the morning, died of a lingering illness, my eldest Daughter, Cicel, wanting 9 days to compleat her 14th year and during the long time she was indisposed, behaved with great Fortitude and Patience, her own distress never making her neglect nor abate that natural affability and good manners which she shewed to all, and particularly to her relations; when in health her person was tall and gentile and her countenance agreeable,{242} her behaviour modest, polite and sensible, her capasity to learn was quick, and had a retentive memory, and as she was sincerely religious (without the least tincture of enthusiesem), there is no doubt that being both Good and Innocent, she is now extreamly, and will be eternally happy in the Celestiall Mansions.
On the 6th of March, 1776, being Weddensday, about seven in the evening, died of a linguring illness my (then) Eldest Daughter, Margaret, being 19 years 9 months and 11 days old, she had a Sollid Understanding, and without ostentation was firmly attached to the Cause of Truth, Virtue and Religion, Kind and Affectionate to her acquaintances but more especially to her Relations, and among her last words expressed her gratitude for the care they had taken of her, I believe her illness originated from a severe cold, which she contracted about 8 months presiding her death. She is now (I hope) enjoying eternall Bliss with her dear sister Cecil.
On the 22nd September 1777, being Munday night, one quarter after 11 oclock, died of a fever my dear wife, Cicel Grant, aged 59 years and 25 days and married to me 36 years and 325 days (which wants 40 days of 37 years.) She was a Chaste and dutifull Wife, and besides a great many good Qualities, she was equalled by few in the prudent and skillfull management of Her House and Family, was Religious without ostentation, Charitable and good to all, and is buried in the above place (two double paces west of the narrow road opposite to Harleys Tomb) where a great number of my and her Relations lyes interred: and there is no doubt she now enjoys Celestial happiness
Mr. Francis Brodie, Wright in Edinburgh, my worthy Father, died of the Palsy att his own house in Edinr., the 1st of June 1782, att 5 oclock afternoon in the 74th year of his age. His character was that of an honest man, an affectionate husband, an indulgent parent, a faithful friend, and a generous master.

 

NOTES

[1]An advocate (barrister) with particular privileges.

[2]Ludovick was the great grandson of the 13th Laird, and brother of Alexander Brodie of Milntown. This is not as distant a connection as it sounds; Ludovick lent Alexander Brodie of Brodie £ 531 in 1741, for which Francis sued the family in 1773.  By this time the debt had accumulated to £ 1153.

[3] Hellen’s father was also a W. S.  It is notable that the women in Francis’s life were also cousins of Jean Grant, the wife of Robert Dundas, Lord President of Scotland, and owner of Arniston House, Midlothian (I am grateful to Nick Haynes for this information).

The King James Bible at the Huntly House museum in Edinburgh was owned by the Brodie family and has much biographical information, mostly entered by Francis himself, written on six sheets of paper inserted between the Apocrypha and the New Testament.

[4]See James Holloway Patrons and Painters:  Art in Scotland 1650-1760  The National Galleries of Scotland 1989.  He is incorrectly called James here, an easy mistake to make as he signed his paintings ‘Jos. Brodie’.  Holloway suggests that there is a possibility Joseph learnt his craft in Italy.

[5] Illustrated here.

[6]It is instructive to compare his handwriting, which was very elegant, with that of his contemporary Alexander Peter, which was not.

[7]His essay masters were Alexander Menteith and Daniel Wright; he was given until the 1st February to make his piece, but was admitted as a burgess on the 27th December 1735 on paying the standard fee of £ 10 16/ 8d.

[8] Published by the Furniture History Society in 1984.

[9]The close was actually owned by the Little’s of Liberton.  Gilhooley’s  Directory of Edinburgh in 1752 lists the close as Brodie’s address and an account of 1767 to William Little mentions ‘your house possessed by me’.  Most of the house and close were demolished to make way for Victoria Street between 1829-36, but two mid-17th century ceilings survive at the front.

[10] For a discussion of rococo engraving in Edinburgh at this time see I Gow ‘A Scottish Rococo Bookplate and its Peers’ Book of the Old Edinburgh Club  New Series vol II 1992.

[11] See for instance Susan Weber’s recent monograph William Kent Yale University Press 2013

[12]Although it is not clear when Smith started working; his earliest known account is perhaps 1739, which post-dates Brodie’s use of Palladio.

[13] It was claimed by Leoni to be derived from a Veronese portrait, but is clearly an eighteenth century man.  Ricci was infamous for his Veronese ‘copies’ and it seems likely that the pair of them concocted the portrait.  For a comprehensive account of the English editions of Palladio see R Wittkower ‘English Neoclassicism and the Vicissitudes of Palladio’s Quattro Libri’ Palladio and English Palladianism  London 1974.

[14] Only the year before this subscribers for Isaac Ware’s Four Books of Palladio were being canvassed for in the Edinburgh press.

[15]The seals of the Adam family are discussed at length, and given considerable significance, by Iain Gordon Brown in three articles: ‘William Adam’s Seal: Palladio, Inigo Jones and the Image of Vitruvius Scotticus’ Architectural Heritage I Edinburgh 1990; ‘Architects or Gentlemen? Adam Heraldry and its Implications’ Architectural Heritage IV Edinburgh 1993; and ‘Atavism and Ideas of Architectural Progress in Robert Adam’s Vitruvian Seal’ The Georgian Group Journal  1994.

[16] They may technically have only been allowed to hold the post for two years consecutively, but as with the Lord Provost, it was probably possible to subvert this rule.

[17]‘The Mock Election – A Farce’.  From a collection of political pamphlets bound as Edinburgh Politics 1777-1780  There cannot be many be many eighteenth century cabinet makers accorded this poetic honour.  William Hallett, whose portraits (like Brodie’s) are well known, also appears, in a rather more favourable aspect, in an Elegy Written in an Empty Assembly Room  by Richard Cambridge, 1756.  ‘… In scenes where Hallett’s genius has combined,  With Bromwich to amuse and cheer the mind …’.  Quoted by Anthony Coleridge ‘A Reappraisal of William Hallet’ Furniture History  I 1965 p11.

[18]This was not particularly exceptional.  Henry Antonious managed over £800 worth when he was Deacon from 1717-19.