Catherine Selkirk was born in Largo on 29 January 1779 and was baptised two days later in the presence of the congregation of Largo Kirk, as the record below tells us. Her parents were "John Selkirk weaver in Nether Largo and Margaret Martin his spouse". Nether Largo was the name used then for Lower Largo. The above photograph appeared in the book 'Seatoun of Largo' by Ivy Jardine (1982). John Selkirk (Catherine's father) was the son of Alexander Selkirk, who in turn was the son of David Selkirk (or Selcraig), the eldest brother of the famous Alexander Selkirk. This made Catherine 'Robinson Crusoe's' great-grand-niece.
​

When Catherine was eight years old her mother Margaret died. The record below shows that she died on 14 December 1787 and was buried on 17 December. Just over a year later, her father John remarried, to Isabel Peattie or Pattie.

So what was life like in Largo around that time?

The Old Statistical Account of 1792, written by the Reverend Mr Spence Oliphant of Largo Kirk, provides some insight to daily life. In terms of health and wellbeing, the account tells of how "coughs are very general, rheumatism and other inflammatory complaints are not infrequent. Epidemic disorders sometimes appear..." often affecting those on "a low and spare diet". The typical diet of the population was described as "meagre broth, potatoes, cheese, butter in small quantities, and a preparation of meal in different forms, make up their constant fare". Meat was generally reserved for "a birth or marriage, or some other festival".
​

At the time fish were "scarce" and "at present there is not a fisherman in Largo, and only 1 in Drummochy, who fishes in the summer and catches rabbits in the winter". The pier at Largo was in existence at the time "where vessels of 200 ton may receive or discharge their cargoes". In the Parish there were 3 corn mills, 2 barley mills, 3 lint mills and 2 salt pans. The main industry of the Parish was weaving, of mostly "linens and checks", with every weaver having access to a bleaching ground. The flax was mostly imported but was dressed and spun in the village. The image below provides some impression of how the buildings along the shore at Lower Largo looked at this time, although this particular artwork dates to a several decades later.

The Old Statistical Account also refers specifically to Alexander Selkirk and noted that "the chest and musket which Selkirk had with him on the island, are now in the possession of his grand-nephew, John Selkirk, weaver in Largo", referring to the father of Catherine. Upon the death of John Selkirk, Catherine became the keeper of the relics. These well-travelled artefacts had been left behind by Alexander around 1717 when he departed the village suddenly with Sophia Bruce.

Catherine Selkirk married fisherman/ linen weaver David Gillies in 1799. Some sources state that the couple had thirteen children but it is difficult to be certain as records are incomplete. In the census of 1841 (see extract above) David, Catherine, David junior (a fisherman) and Janet are listed in the household, as well as Catherine's sister Margaret Selkrig, aged 50. David Gillies died in 1846, leaving Catherine a widow. In the 1851 census (below) Catherine was recorded, aged 72, along with the only other member of the household - a 10-year-old grandchild, Christian Gillies. 
​

Catherine lived to see the arrival of the railway in Largo in 1857, which must have been momentous for the community. At the time of the 1861 census she was living alone, and she died the following year, on 1 February 1862, just days after her 83rd birthday. Her obituary in the local press spoke of a "pleasant spoken" woman, who had experienced a life of labour and of "toiling, rejoicing, sorrowing". Having lost her mother as a child and predeceased by several children - sorrow was a theme throughout her life, yet this was coupled with a lifelong association with her famous relative and the home in which she lived was surrounded by public interest. 

Among the children who outlived her were:

Margaret Allan nee Gillies (married shoemaker David Allan); born c 1801, died 1876 aged 75
Samuel Gillies (fisherman); born c 1808, died in 1892 aged 84 at Bower House, Lower Largo
Christina Deas nee Gillies (married fisherman John Deas); born c1813,  died 1894 aged 81
James Gillies (fisherman/whaler); born 1816, died 1902 aged 87
Alexander Gillies (fisherman); born c1823, died 1898 aged 76

On her death record below her mother was incorrectly noted as Isabella Peattie, who was actually her step-mother. Her son Samuel registered her death and must have been illiterate as he signed with a cross as 'his mark'. Catherine was buried at the new cemetery very recently opened in the Parish. Soon after her death, the old cottage and birthplace of Alexander Selkirk (1676-1721) was demolished and the current Crusoe Buildings built upon the site. The relics so long cared for by Catherine were sold - finally separated from the birthplace of their former owner.
​

Pictured above is a carte de visite by John Patrick of Leven, featuring a model of the house in which Alexander Selkirk lived in Lower Largo. The name 'Patrick' and the place 'Leven' can be seen in tiny writing on the left of the card and on the reverse is the photography studio's logo of the time (see below). This photograph of the model house can be dated to circa 1865. 
​

The actual house was likely not quite as neat and straight-edged as the model suggests. The engraving below by William Ballingall from his 1872 book 'Shores of Fife' shows the same number of windows and doors but a more uneven rooftop and gables. The engraving also shows some additional detail in terms of the adjoining structures, which provide more context. Note the crow-stepped gables - some examples of which can still be seen on Main Street today.

Adjoining Crusoe Buildings were additional new dwellings, including 'Twin House', shown below, which was made for inseparable twin brothers William and Robert Gillies, owners of the fishing boat Ocean Bride. Several properties were built in total in a distinctive terrace - now 99 - 113 Main Street.
​

The model of the old cottage survived for many decades, receiving some repairs and repainting along the way. It looked slightly different by the early 1980s and appeared as below in the book 'Seatoun of Largo'. If you know what became of the scale model of the Selkirk family home - please leave a comment.
​

An earlier post looked at the unification of Newburn Parish Church and Largo Parish Church. The two churches united in 1958, with the Newburn Church closing completely in January 1961. Before the church building at Newburn was converted into a private dwelling, a number of important artefacts were moved from there to Largo Parish Church at Upper Largo. One of the first things to be relocated was the Newburn Parish 1914-18 War Memorial Plaque, pictured above. In the images below, captured in 1963, the empty wall space and exposed brickwork indicates the place where this was once mounted on the church wall. This plaque is still proudly displayed within the church at Upper Largo.

​

The Newburn communion silver (which included two cups dated 1772) was of course retained for use by the unified church. One of the cups can be seen in detail above (as featured in the book 'Largo Kirk' by Douglas Lister and James Gillies (1968)). A wider range of the Newburn communion silver can be seen in situ at Newburn Parish Church in the photograph below (from the book 'The Architecture of Scottish Post-Reformation Churches 1560-1843' by George Hay (1957)).
​

​In fact, the installation of the Newburn pulpit at Largo was part of a wider programme of renovations at the time. This saw the communion table relocated from the east wall of the chancel to the axis of the cross, and the re-siting of the organ. The 29 September 1965 Leven Mail reported on the works and the extract below highlights the introduction of the Newburn pulpit and font. 

The Fairy Bridge crosses the Keil Burn at the north end of Keil's Den, just south Balmain Farm and north of Pitcruvie Castle. The map below from 1857 shows that it was once between two quarries, suggesting both the reason for its creation and the source of the stone from which it was constructed. It is linked to the road that passes Auchindownie by a short farm track. The origins of the 'Fairy Bridge' name are discussed in the 1931 book 'Bygone Fife', where James Wilkie writes of the traditions, legends and folklore of the Kingdom. He describes Keil's Den as "that notorious haunt of witches" and "a haunt of fairies as well as witches". Referring to the fairies, he continues:

"They held their revels on the green haugh at the northern end, where the ruins of the castle, once a stronghold of the Lindsays of Pitcruvie, or the Byres, look down on the Keil Burn. The bridge that spans the stream is still known as the Fairy Bridge".
​

The ambiguity around the age of the stone bridge is also touched upon by Wilkie. 

"Over the Fairy Bridge, whensoever and by whomsoever erected, the wayfarer may pass out of the haunted den to farms so well known in mystic lore as Balmain and Fairyfield, and climb the slopes of Norrie's Law, where the herd blew his fatal blast and foiled the attempt to solve the riddle of the buried treasure. There still lingers a vague memory of the days when the retainers in Pitcruvie Castle crossed the bridge to the spot where they exercised in arms....In fairyland seven years are as three days; time is after all an arbitrary conception, and it is difficult to fix dates dealt with in tradition. So the age of the bridge may be left to the imagination."

However, Wilkie also notes that this was the site of an earlier timber bridge. A wooden bridge was certainly built in the vicinity in 1760. It is recorded in the minutes of the Kirk Session that local wright, James Murray was paid £10, 13s, 4d for its construction. A footnote in Wilkie's book tells us that the name of Fairyfield Farm was changed, as the fairies "shrink from direct mention". The photograph below of the bridge was captured by local chemist Peter Cowie, who was also a keen photographer, like many in that profession at the time.
​

The free-stone quarry by the Fairy Bridge was the source of the stone use to build the present Wood's Hospital (also known as John Wood's Houses) in Upper Largo. The advert above from 1831 is for the sale of the quarry after completion of the hospital. So the bridge must be older than that date. It's intriguing to imagine horses with loads of quarried stone navigating the bridge, as it made its way south to Kirkton of Largo for the construction of imposing James Leslie designed building (see map below for context and image of Wood's Hospital further below). There was said to be a stone on the bridge which states that it was restored by General James Durham in 1836.

The 'Suggested Walks and Places of Interest' pamphlet by Largo Field Studies Society describes the walk to the Fairy Bridge as follows...

From Upper Largo "take the road past the school. Go straight on at the cross road, downhill and across the road bridge over the Keil Burn. On the right view the remains of Pitcruvie Castle. Follow the road until the wood ends on the right. In spring a track skirting what was the wooded area can be traced to the Fairy Bridge but in summer it is liable to be overgrown."

This booklet also notes that the bridge was said to have been used by cadgers taking fish from Anstruther and other places in the East Neuk to the Royal Palace in Falkland, when the King was in residence. Whether that is true or not, the bridge is on the direct route as the crow flies from Anstruther to Falkland. The postcard image below suggests that the Fairy Bridge once provided a handy vantage point for recreational fishing. Nowadays access to the spot is more challenging, adding to the mystery of this forgotten source of folklore.
​

Above is a 'then and now' comparison of the entrance to Upper Largo Church, looking towards East Drive. The older image at the top appeared on a 1920s postcard, upon which someone had written the following on the reverse:

"The ancient Largo stone is under canopy at left of view and the avenue leads to Largo House."

The avenue of tall, mature trees is prominent in the black and white image but absent from the present day view. There are still some trees there today but they are younger, smaller ones. The passage of time between the two views of Largo Church has resulted in a few other changes. Most noticeably, the two yews, one either side of the top of the steps, are no longer manicured into neat cone shapes. Iron gates have been removed from the top of the steps (a handrail is now in place in the centre of the steps). A small hard rail has also been added at either side of the church door and an electric light has been installed to illuminate the entrance. A metal boot scraper remains on either side of the entrance door.

The East Drive Gates, including the fluted urns with swagged bands, can be seen in both the 'then' and now' images (although only one urn remains today). The tree-lined avenue that once extended along the east drive to Largo House is clearly shown on the 1912 map below. This map also shows the detail of the two small buildings which flank the steps leading up to the church west entrance (just above the letters W.T.). These were likely once a session house and offeratory house (the latter a place where the church collection was received). The photograph at the foot of this post looks back up the steps between these two buildings towards the west entrance.

The Standing Stanes of Lundin are three tall, unsculptured, irregularly shaped pillars of red sandstone. Ranging from about 13'6" to 18' high, they are thought to date back around four thousand years. In a world that's forever changing, the Standing Stones of Lundin provide a reassuring familiarity. These megaliths are one of the few local landmarks that would be recognisable to our ancestors. The land use around the stanes has however changed with the times. Long gone are the sheep pictured in the etching above by local engraver William Ballingall circa 1870. Crops no longer grow around their bases. For the past century plus, golf has been played among and around them.
​

​This 1872 photograph by John Patrick shows a gentleman examining the stones while near rows of crops grow at his feet. It was likely a farm worker that discovered a "coffin built of loose slabs" on the site around 1844, which had been exposed immediately adjoining the standing stones. 

The 1908 image captured by Lady Henrietta Gilmour shows the stones shortly before the Lundin Ladies Golf Club moved to occupy the site and embrace the stanes as a feature of their course. The zoomed in detail below shows clear evidence of graffiti in the form of carved initials and messages. The 2 September 1908 extract from the Leven Advertiser further below explains how this vandalism led to the installation of railings that year. 
​

The newspaper piece below from a 1969 East Fife Mail shows a section of the railings. By this time they were looking a little buckled and worse for wear. 
​

The two images below, both from the Canmore Collection, show the stanes shortly before and after the railing removal. The first is from the mid-1970s and shows a wider scene of the second hole fairway (and third tee behind) with the railings still around the stanes. The second image dates to 1986, when the stanes had been recently released from their iron enclosures, enabling people to fully enjoy their ancient splendour from all angles.

The gold ribbon torcs pictured above were found at Lower Largo in 1848 but date back to 300 BC - 50 AD. On display at the National Museum of Scotland on Chambers Street in Edinburgh, they can be seen in the Scotland Galleries, in the Early People section (on Level -1). The term 'torc' usually refers to a necklet but can also be applied to smaller armlets or bracelets such as these. These three bracelets (and two fragments of another) consist of spirally twisted gold, finished with recurved ends.

The technique created simple but elegant decorative jewellery. The ends were curved backwards to form simple hooks for fastening. Expensive and high status items of jewellery, these torcs were worn to demonstrate the status and wealth of their owners. This style of jewellery was popular for a lengthy period of time and many similar examples have been found elsewhere, including Aberdeenshire, Ross-shire, Perthshire and Moray. 

Below is an extract of information from the 'notice' of presentation of the objects to the museum. They were presented by Robert Dundas of Arniston, in 1883, the same year that his mother Lilias Dundas Calderwood Durham (former resident of Largo House) had died. Note that these were presented at the same time as the silver discovered at Norrie's Law, which is displayed alongside the gold torcs within the museum to this day.

The Largo discovery was highlighted on many local maps, including the 1912 example below, where the words Gold Armlets found (A.D. 1848)  can be seen just north of Rollo Villa. As a site of antiquity, it is marked by the cross with small circles at the ends. The armlets were found together during the winter of 1848 "on the top of a steep bank which slopes down to the sea, among some loose earth, which was being dug to be carted away". It is fortunate that they escaped the melting pot, unlike the silver hoard discovered at Norrie's Law - most of which was illegally sold to silversmiths for reuse around 1819.

You can learn more about the techniques of ancient goldsmiths and the process of making a gold ribbon torc using early tools and technology here.

The Eagle Gates (pictured above) and Eagle Gates Lodge (shown below) are situated at the south east entrance to Largo House. This is a great example of a gate lodge which has outlasted the country mansion which it once served. A gate lodge is a small building at an entrance to a grand country house, where originally a gatekeeper would have lived and controlled access to the property. While many large mansions fall into disrepair, associated lodge houses can still survive, being of a much more manageable scale.

Situated where the road to Upper Largo from Lundin Links meets the top of the Serpentine Walk (see map above) both the lodge and the gates were listed in 1984. In its listing, the lodge is described as follows:

Late 18th/early 19th century, with alterations. Single storey. Pinned whin rubble with large droved long and short ashlar dressings. Bowed south end, originally with tripartite, now narrow outer lights blocked. East elevation with door and 3 windows (enlarged to right of door). Piended slated roof and 2 corniced ashlar stacks. Rubble and harled.

The gate piers are described as follows in their listing:

Later 18th century. 2 large square vermiculated ashlar piers with Greek key pattern bands below cornices capped by eagles. Very low rubble quadrant walls housing cast-iron railings.
​
The dates given for the lodge and gates are estimated but the Greenwood and Fowler map below (which was surveyed 1826-7 and published in 1828) clearly shows a building on the site of the lodge and a driveway from it up to the main house.
​

It was circa 1830 that James Durham (1754-1840) made a number of upgrades to Largo House. He had married for the second time in 1827 and shortly afterwards had two rear wings added to the main house as well as the conservatory built to the west. The Durham Coat of Arms was added above the main entrance (shown in the Canmore image above). This has a date of 1830 just visible to the lower right beneath the word 'terras'. It seems likely that the Lodge would have been upgraded around this time too. This may have included the addition of the pair of eagles - shown below as they were in 1973 (image from the Canmore collection) when both eagles were still in place. In recent times the eagle on the right has gone missing. 

The question is - why were eagles chosen to cap the gate piers?

The use of the eagle as a decoration for gate piers was not uncommon. The eagle symbolises power and strength and is visually striking. Duff House in Banff, Coneyhill House in Bridge of Allan and Thirlestane Castle near Lauder in the Borders had similar examples. However, there is usually a rationale for their use. The example shown below, at Thirlestane Castle, has gate piers capped with eagles for a specific reason. The Castle is the historic home of the Earl of Lauderdale, whose Coat of Arms includes two eagles with wings inverted as supporters. 

Is it possible that a similar reason applies at Largo? While there are no eagles on the Durham Coat of Arms, a pair of falcons appear on the Anstruther Coat of Arms - see image below. James Durham's 1827 marriage was to Margaret, eldest daughter of Colonel John Anstruther. Conceivably, Durham may have wished to represent her family in this way. In the absence of an obvious reason for the choice of eagles, could the stone carvings at Largo House actually portray falcons?  What do you think? Do you have further information about the origin of the stone carvings or their meaning? Please leave a comment. Likewise, if you know when one of the birds disappeared and where it went, please comment. The next post will look in more detail at the Eagle Gates Lodge and the people who inhabited it over the decades.

In the northwest corner of Largo Kirk churchyard is the headstone shown in the photograph above. It appears again below in a black and white image which featured in the East Fife Mail in July 1976. The gravestone stands out because of the shells which are scattered around its base. The stone features a carved "winged soul" effigy (representing the flight of the soul from one realm to another). The date appears to be 1817 and the fading words begin: HERE LYES ANDREW SELKIRK NOTAR PUBLICK. Notar Publick was a public official who would witness the signing of important legal documents - see Dictionary of Scots Language entry - https://www.dsl.ac.uk/entry/snd/notar. This man must have been an important figure in the community. 
​

On the other side of this same headstone are the initials of the parents of the famous Largo-born inspiration for the character Robinson Crusoe, Alexander Selkirk:

JS (for John Selcraig) and EM for his wife Euphan Mackie

Selcraig is a variation of Selkirk. This side marks an earlier burial as the pair likely died at least a century before Andrew Selkirk. Their side of the stone is shown above (image from the book 'The Story of Largo Kirk' 1990 edition). The J looks like an I because J was not differentiated from the letter I until comparatively recent times. For example, John and James appeared as Iohn and Iames (see examples below). The exact relationship of the Andrew Selkirk on the reverse side of the stone to John Selcraig and Euphan Mackie is unclear - he could be 3 or 4 generations further down the family tree.

The stills below are from an episode of Weir’s Way filmed in Largo in 1985, showing Tom Weir visiting the grave of John Selcraig and Euphan Mackie while on the trail of the life story of their famous seventh son, Alexander, who was born 1676. As there is no memorial to Alexander Selkirk himself (he was buried at sea in 1721), over the years people have brought shells to the grave of his parents, acknowledging the family's connection to the sea and to pay tribute to the man who inspired the famous Crusoe story. Comparing the 1980s image below to the more recent one at the top of the post, the number of shells seems to have grown in recent years.
​

 
The 30 July 1969 East Fife Mail reported on the gift given to Largo Kirk of a model of The Yellow Caravel (the 15th century ship of Admiral Sir Andrew Wood). The man pictured working on the model is Dan Marshall, who lived in Westora on The Promenade, Leven. Sir Andrew Wood had been a boyhood hero of Dan's and his model making idea had begun as far back as 1934. It was then that he visited the Museum of Scotland on Chambers Street in Edinburgh, to view their model of the Yellow Caravel.  He gained permission to examine and sketch the model and take measurements, with a view to creating a replica.

Dan was home on leave from China and he intended to follow up the preparatory work by embarking upon his own model on his subsequent visit home. While in the museum, an older man sat down next to Dan and asked him about his plans. He turned out to be the maker of the museum's model, Richard Paterson of Lasswade. Mr Paterson had undertaken a number of commissions for the Museum. His other works included the Great Michael and a Viking longboat. Richard Paterson's original 1926 Yellow Caravel model can be viewed here.

Dan Marshall made a start on his version of the Yellow Caravel but progress was slow and, after some time had passed with only the hull completed, he scrapped the model and the project ground to a halt. More than three decades later, while working in the Gas Board Offices, Mr Marshall had a conversation with Upper Largo minister, Reverend Douglas Lister. Dan explained that he had long dreamed of making a model ship to hang in a church. Nothing happened for six months, until the pair talked again and Rev. Lister asked when Dan was going to start on his model.

Around 500 hours of intricate work later, Marshall's model was presented to Upper Largo Parish Church on 3 August 1969, at a service televised by the BBC for Songs of Praise. The Church still has this special memorial to Wood on display today. Built at a 1:48 scale, the Yellow Caravel is positioned on a small table against a wall next to the main dais so that all members of the congregation looking at the communion table and pulpit will see the little ship as well. The black and white photograph below shows the model (to the right) in context.
​

Here is a description of the model:

Scale: 1:48
Length Overall: 1000mm
Breadth: 250mm
Height: 960mm
Material: wood, paint, cotton thread and metal fittings
Construction: Block built with built up topside
Description: Hull is painted black below the waterline and yellow and blue above. The stern castle and forecastles are both built up in the style of the fifteenth century warship, painted yellow, blue and red stripes with shields depicting the Scottish red lion rampant, the saltire and one bearing the oak tree family crest of Sir Andrew Wood. A saltire is also picked out in blue lines on the lugsail at the foremast and in decorations around the crows‐nest on the main mast. Two yellow metal carronades are on each side of the main deck.
Transom: painted blue, yellow and red stripes with two Scottish lion shields and a central saltire shield.
Masts and Spars: painted yellow with blue bands.
Rigging: fully rigged with sails set. Main sail is painted with two images of ships carrying saltires and a large oak tree, the family crest of Sir Andrew Wood.
Flags: Large tin saltires fly at the bow, stern and mainmast. 
​
This model represents a typical armed merchantman of the 15th century rather than specifically the Yellow Caravel, no illustration of which survives. It carries seven guns, crossbows and pikes. The mainmast has a fighting top. The coat of arms on the mainsail are those of Sir Andrew Wood. Wood began his naval career as a privateer under James III and prospered under James IV. By 1489 he owned the Flower and the Yellow Carvel, both fighting ships, which fought and captured five English ships close to Dunbar.

The English launched a larger offensive the following year under Stephen Bull, which attacked Wood's ships in the Firth of Forth. After two days of fighting, Wood triumphed, capturing the English ships, despite having been outnumbered. James IV knighted Wood following this battle, granting him land in Largo. Wood built a fortified tower house there, married Elizabeth Lundie and had several sons. In 1511, he took command of the Great Michael, the flagship of the Royal Scots Navy, said to be the largest ship in Europe, weighing 1,000 tons and measuring 240ft (73 metres) long.
​

The Upper Largo Church model is one of many ship models found in Scottish Churches. If you would like to find out more about ship models in Scottish Churches, click here, to read a thesis on the topic by Meredith Clare Greiling (June 2019).
​