[MacLowlife]

Even though many of them are actually STANDING, I believe the more frequent usage is to SIT for a portrait, not pose for it ( one poses for photos, sure, but paintings take longer). I wouldn't attach too much significance to modern connotations of POSE when discussing these images.

And, I believe one is PORTRAYED in a portrait.

I think the easy test is to look at these gentlemen's outfits and their job descriptions. How many gamekeepers would take to the Scottish countryside in such dainty footwear when sturdy boots were available?

Many of these men traveled to be painted- sometimes to Inverness, sometimes to Edinburgh- At the very least, they would have worn "town clothes"...

[Tartan Hiker]

Originally Posted by creagdhubh

Here here! I agree completely and disagree mostly with Jock Scot. No need to bicker gents.

Lest I be misunderstood: I am not in disagreement with Jock. I believe that his major point is that these portraits do not represent "normal" or "daily" wear, and while I am certainly no expert on historical Scotland, I think he's absolutely right.

[MacLowlife]

A quick look at the sitters details, with an eye towards occupation and position:

1) John Grant, who was old enough to avoid the kilt, was a second generation gamekeeper
2) John Brown, Her Majesty's famous Personal servant, became a ghillie at 13.
3) William Ross, Her Majesty's piper
4) Archibald Brown, Valet to Prince Leopold
5) Donald Stewart, Under forester and keeper /
6)Charles Duncan Carpenter, ghillie, keeper
7) William MacDonald, piper to the P.O.W.
8) James Morgan, son of a tailor, servant to the Prince and Princess of Schleswig-Holstein
9) Colin Campbell, tenant ( farmer) and fisherman/
John Campbell, Quarryman
10) Donald MacBeath ( former soldier) gamekeeper and forester for the Duke of Athole / William Duff , former shoemaker, gamekeeper, fly tier, fisherman (and accomplished musician)
11) John Chisholm, ploughman / Colin Cameron , policeman / John Cameron, farmer
12)Duncan Drummond / Andrew Murray Farmers
13) James Lamond, former servant, laborer / William MacHardy, gamekeeper
[I am too tired to type the rest... I stand by my assertion, though, that gamekeepers and laborers would probably have put on special clothes to go to town and have their portraits made. Servants and attendants would surely have dress uniforms that they would wear.

Isn't it the Heisenberg Uncertainty Principle that says the very act of observing a phenomenon has an effect on the phenomenon?

[Tartan Hiker]

As several posters have pointed out, this thread really belongs in the Historical forum, so here it is. (Of course, since you're reading this you already know that its been moved)

[BoldHighlander]

Originally Posted by CMcG

It's not my place to say whether these gentlemen were just wearing the very best of their best, if there was intentional romanticization by the artist, or if what we see was a specific Royal request by the commissioning monarch. I'm guessing some combination of the three in varying amounts, based on the meaning of the verb to pose. These Highlanders were certainly posing for the portraits and for the Queen!

Originally Posted by BoldHighlander

I'll be away until later, but I have a magazine article from 2003 that might help shed a wee bit more light on the background of these paintings that I will type up & post then.

As promised

THE QUEEN'S WATERCOLOURS
Scottish Life Magazine - Winter 2003

WHEN QUEEN VICTORIA COMMISSIONED PORTRAITS OF THE HIGHLAND CLANSMEN SHE KNEW AND ADMIRED, SHE UNWITTINGLY CAPTURED A FINAL CHAPTER OF HIGHLAND HISTORY.

Queen Victoria's passion for Highlanders, their language and their dress is well known, but one of the most remarkable aspects of this enthusiasm has been largely forgotten in recent times. In the early summer of 1865, the monarch commissioned from Scottish miniaturist, Kenneth MacLeay, a number of watercolours of her family and retainers at Balmoral Castle in Deeside. After seeing these initial portraits, the Queen then decided to expand the project and have MacLeay paint representatives of the principal Highland clans.

The men in these portraits were chosen by the clan chiefs themselves and are wearing the most authentic tartans, showing in detail the historic insignia and accoutrements of their clans. When the set of 31 watercolours was exhibited in Bond Street, London in 1869, it caused a sensation, and a limited edition printing of the portraits in 1870 is now highly prized.
The relaxed, distinguished men shown by MacLeay give no impression of the difficulties under which many of them grew up -- and were still living. After the 1745 rebellion, the Highland way of life quickly changed. Chiefs became absentee landlords. Lack of work and lack of food moved some landlords to encourage Highlanders to leave their homes, while others were forcibly evicted. The great emigration to the colonies began, further emptying the land. So today, these nearly forgotten portraits, now preserved in the Royal Library at Winsdor Castle, not only provide one of the most authentic pictures of Highland dress, but also give a compelling snapshot of a moment in time -- of a people and a landscape now lost to history.

The brief article is followed by a selection of prints, with descriptions of the subjects in each print. The first, William Macdonald - the Prince of Wales' Piper, I think says it all about the majority of the subjects presented in these portraits: "The Prince of Wales' Piper, Macdonald wears the tartan of the Duke of Rothesay (one of the Prince's titles) and formal dress..."