The location in the above photograph is most commonly known as The Orry, or sometimes Orra. However, this name is seldom seen in an official written form. There is no name sign there and it tends not to be labelled on maps. It is most often referred to in the spoken word and that has led to fairly wide variation over the years in its spelling.

Although the name probably goes back to at least the 19th century, early written mentions are few and far between. Back in 1939, when the location was designated as a "regulation parking place" by the District Council (see 5 Aug Fife Free Press notice below), the spelling was given as "Awry". 

Now here is a coincidence (pointed out by a blog reader yesterday) the owner of the Eaglesham estate from 1844 was none other than Allan Gilmour, who went on to purchase the Lundin Estate in 1872. Although, Allan Gilmour was not involved in a hands-on capacity locally, his son John was (before and after he inherited Lundin estate). Could Sir John Gilmour (and/or any employees brought over from the Eaglesham estate) have introduced the term 'Orry' to the local population? Or was it already in use in Largo by 1872 (evolving independently from the Scots 'aurrie')? If you know of a reference locally to 'Orry' before 1872 - please comment.

Meanwhile, the local variation in spelling continued over the decades. In 1959, when plans were being formulated for the Sailing Club, the Leven Mail went with the spelling 'Orrey' (see below).
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Once the days of the Largo Children's Gala came - with the regular parade commencing at the Orry - references to the spot became more common in the newspapers. Below are clips from 1975, 1982 and 1983 and all use the name 'Orra'. Orra is a well-known Scots word meaning either 'spare', 'odd' or 'occasional' - with an 'orraman' being an odd job man. It's tempting to think of the space as somewhere historically that odd jobs were carried out. 

However, by 1984 the spelling 'Orrie' was being used instead (see advert below featuring Crusoe from that year). It was still used in 1993 - see further below.
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This street map from 1996 - perhaps the most official reference among this selection - favoured the label 'The Orra'.

To complicate matters further, another name used for the space has been 'Market Square'. The above snippet from the 20 August 1938 Fife Free Press describes how a driver (presumably having picked up speed coming down Durham Wynd) collided with the telephone box at the Orry. The phone box in question is marked on the map below as TCB (telephone call box). Anyway, the 'Market Square' name (connected with fish markets perhaps) seems not to have stuck.
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So, what you do call the Orry? And how would you spell it? Have you heard stories about the origins of the term? Any information would be most welcome. To conclude this lengthy post - an image of The Orry from the beach, looking towards Goodsir House plus a crowd-filled Orry back in 1975 - eagerly awaiting the start of the Gala parade (courtesy of the East Fife Mail).
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Above is a 'before and after' comparison of the signal box at Largo Station. On the left an image captured shortly before the station's closure. On the right the same view not long after closure, when the weeds and vandals had begun to make their mark. The last passenger train ran on 5th September 1965. Goods services were withdrawn on 18th July 1966. The line was officially closed on 18th December that year - although the very last train to run on the line was April 1967.

Below is a shot featuring the British Railways totem with the station name: 'Largo' (in the classic 'hot dog' shape). These station totems (and other signage such as the one on the signal box above) came in a range of colours, all featuring the Gill Sans font. While signs in Scotland were light blue, North Eastern was orange, Great Western Region was brown, the Midland Region was maroon, Southern Region was dark green and Eastern Region was dark blue. This corporate identity was introduced 1948/9 and was replaced in the late 1960s (post the Beeching cuts and too late to apply Largo or Lundin Links Stations). 

The 'lion on wheel' emblem was also introduced in 1948/9 and can also be seen below on the banking among the flowers to the left of the totem sign. It's shown again below post-closure in an abandoned (yet still visible) state some years later. Further below is the official BR emblem upon which it was based.
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Below are some more scenes of dereliction at Largo Station. Firstly, some rather scruffy looking platforms and tracks superimposed on the same scene in better times (taken from the footbridge over the tracks). Next the levers inside the signal box, through broken glass. Finally, an overgrown track-side, looking through the footbridge. Around 1970/71 the Largo Station buildings were demolished. ​

More 'after the closure' photos of Largo Station are here and for Lundin Links Station click here.
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A comparison of Crusoe Buildings (on the right, looking west) - with a circa 1900 view at the top and a contemporary view below. Not much changed? On closer inspection the Crusoe Buildings have undergone a fair amount of remodelling over the last 120 years, with significant changes to the window arrangement and an attic conversion. It was modernised and reconstructed in 1936 according to the newspaper archives. Recent years have seen further renovation. Happily, the statue is unchanged - although it did enjoy a holiday in Glasgow in the 1980s.

Capturing this view without cars featuring in it, is impossible today and no longer does the road feature physical evidence of horses. A new window has appeared in the gable end of neighbouring number 97. The church bellcote has gone and indeed the church building is no longer in use as a church. 

​Below some small details are picked out. Note the child at the door of the former 'Very Crafty' shop. The buildings once housed a Barber's Shop (see announcement from 13 June 1912 Leven Advertiser further below).
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The above photograph was taken by the late Robert Carswell Paxton of Homelands. It may have been taken around 1902 when the Paxtons settled in Largo (initially staying at Drum Lodge). This is still in the days of the wooden footbridge (see left of image) which preceded the building of the road bridge. Incidentally, the photograph of the first car crossing the road bridge is also thought to have been taken by Robert Paxton, who must have been quite a keen amateur photographer.

The detail below shows a team of three painters working on the exterior walls on what appears to be a bright sunny day. Alexandra House (now the site of Lower Largo's one remaining shop) can be seen to the left of the Crusoe. Further below is detail showing Bridgend House, the Railway Inn and Belmont Temperance Hotel (in an elevated position to the right of the bridge over the railway line). Miss Mary Carswell was proprietor of the Belmont at the time of this photo. I wonder whether she may have been related to Robert Paxton's mother Janet Carswell. At the foot of this post is an advert from 1908 for the Belmont Hotel when the proprietors were the Misses Sawyer.

The distinctive external staircase on the landward side of the Crusoe Hotel (pictured above) was created when an additional loft storey was added to the granary building circa 1870. The image above shows it around 1930 when David Todd was the name written on the 'Railway Inn' sign. Note the community noticeboard area adjacent to the staircase and the chocolate advert on the side of the kiosk by the road bridge, as well as the old motor car parked outside the hotel. The Pier Pavilion was in place for the season too. 

However, going back to the years before the First World War, the Crusoe stairs led up to the 'band room' of the Largo Brass Band (also known as the Largo Prize Band and later the Largo Silver Band). The 1895 and 1905 valuation rolls note that the Largo Brass Band (secretary T. G. Wishart) were the tenants of the 'loft' (as it was described in 1895) or 'hall' (as it was described in 1905) within the granary. A reference to the stairs as the "stair leading to the Band Hall" can be seen in the sad news story below from 26 April 1895 East of Fife Record.
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Although the use of the granary loft by the Brass Band ceased with the outbreak of war, the use of the granary for entertainment purposes had been long-standing. Below is a snippet from 1856 (25 December Fife Herald) where a ball had been held there. No other suitable hall was available in the 1850s - the Temperance Hall in Lundin Mill not being built until 1886.

A couple of years later, on 14 Jan 1858, the Fifeshire Journal remarked upon a another ball held on New Handsel Monday in the granary. 
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Fast forward to 1890 and there was a smoking concert in the granary (29 Aug East of Fife Record). Perhaps the recently-built Temperance Hall would not have allowed such an event.
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More to come in future posts about the Largo Brass Band and about their secretary Thomas Graham Wishart.

This interesting series of paintings of Largo Harbour, signed by David Martin, feature the Crusoe Hotel (and adjacent granary) looking quite different. The landward side of the building is a storey lower than in later times and has a simple and functional appearance. When first built in 1824 the granary building consisted of only two storeys (see advert below from the Fife Herald of 7 October that year). The seaward (inn) end of the building was likely built around the same time - which was also around the time to the establishment of the steam packet services.

Featuring typical granary architecture, with small rectangular windows and a cart opening at ground level, the interior of this part of the building would have been similar to the image below of Dunbar's granary and store. It's easy to imagine the low beamed rooms with their stone walls filled with sacks of grain and other agricultural produce. 
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By the mid-1850s, the focus was on the imminent arrival of the railway. In December 1855, the shareholders and tenants of the Largo Granary Company had a dinner in Selkirk's Hotel (i.e. the Crusoe Hotel - the proprietor at the time was named Alexander Selkirk). The principal tenant of the granary then was Robert Hutchison of Kirkcaldy. [In 1830, at the age of 21, Robert Hutchison opened an account in the name of Robert Hutchison and Company and began trading in wheat, barley oats, flax, butter and flour. By 1856 the company would own all the land in East Kirkcaldy where the present flour mill now stands.] The success of the East of Fife Railway was toasted at the event and those that had not already subscribed to the scheme were encouraged to do so.

The arrival of the railway and the increasing popularity of Largo as a visitor destination saw the area prosper and at some point the granary acquired a third storey - a 'loft' added to the existing 'granary' and 'cellar and stables' . It is unclear what point in time the paintings above represent but certainly the landward end of the building had acquired a third storey by the early 1870s.

The photograph below dates to 1885 and the day of the unveiling of the Crusoe Statue. The outline of the old lower gable end can be made out in the weathered gable wall on the right hand side of the image. Standing on the far right is Sam Gillies, skipper of 'The Brothers' which was lost only a few months after this photo was taken. The Largo Granary Company seems to have wound up around the turn of the century and by 1905 hotel keeper Thomas Lumsden owned the entire building - although part of the old granary building had an interesting use at that time.....more of that to follow.
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In addition to his many paintings of Largo, George Leslie Hunter also produced many sketches of the area. Lots of his sketches were recognisable scenes of the beach or still existing buildings. However, the one shown above focuses on the Pier Pavilion with little contextual background. It would have been a familiar scene at the time but now only those aware of Largo's local history would know what and where this is. The pen, ink and coloured crayon drawing is named The Pierrots, Largo and dates to 1923.

This drawing was purchased by the Kelvingrove Art Gallery in Glasgow for its permanent collection, along with two others 
(Fife Landscape and Largo Harbour). As the book 'Hunter Revisited' by Smith and Marriner states:

"The Pierrots is one of a series of drawings Hunter did of the open air theatre near Largo jetty. Since his days in San Francisco he had maintained an interest in the theatre, as much as anything for its colourful spectacle. The Pierrots at Lower Largo staged a popular form of vaudeville entertainment for summer visitors; often Hunter depicts scenes of the audience milling around, capturing on paper the causal seaside atmosphere."

This is the striped 1920s version of the pavilion (see photograph below). The pavilion changed in appearance a few times in the decades that it graced the pier. At the foot of this post is another Hunter sketch of a similar scene. In this one, the pink cloud suggests an evening performance as the sun sets. I wonder whether the pier could ever witness such scenes again....

George Hunter was a Scottish painter - one of the Scottish Colourists - whose work was characterised by the bold use of colour and loose brushwork. He was born on 7 August 1877 to Rothesay chemist William Hunter and his wife Jeanie Stewart. He was their fifth child. George spent the first fifteen years of his life in Rothesay, where he developed a passion for drawing from a young age.  Early in 1892, two of George's older siblings died while still in their early twenties. Later that year, William, Jeanie and their three surviving children emigrated to California.  They initially settled on an orange grove 50 miles east of Los Angeles, where they enjoyed the change of climate. Two or three years later they moved to the city but in 1899 all except George returned to Scotland.

George moved to San Francisco, where he began using the name 'Leslie' for the first time. There he became a member of the bohemian community of artists, writers and poets. His earnings from work as an illustrator for magazines and books paid for a visit to Paris in 1904. This trip inspired him to try his hand at oil painting. Back in San Francisco, in 1905, he compiled a portfolio of work to be exhibited the following year in what would be his first solo exhibition. However, this would never come to pass, as all of his work was destroyed by the fires that followed the 1906 earthquake in the city.

This was a disaster for Hunter and led to his return to Scotland. He settled in Glasgow later in 1906 but continued to make visits to France from time to time (except during the First World War when travel was restricted). Hunter developed a group of friends based on the east coast of Scotland, who introduced him to Fife. The county's rural architecture and colourful landscapes became an important source of inspiration to him. Ceres and Lower Largo in particular were favourite haunts. In a letter to one of those friends Hunter wrote "Fife is ever a delightful thought on my mind with its beautiful valleys and villages".

Above is 'Cottages and Landscape, Fife' dated 1923-24, which is in fact Drum Lodge looking east.

Above is 'Largo, Fife' (undated) showing Main Street, Lower Largo, looking east where Horne's Buildings now stand on the left and the right turn at White Cottage is off picture to the right.

Above is 'Largo Harbour' dated 1925.

Above is 'Figures on the Pier, Largo' undated.

Above is 'Mill, near Largo' dated 1924, depicting the flour mill at Lundin Mill - not far from another of his subjects, Dunkirk Cottage.

Above is 'Cottages Under a Railway Bridge' (1924) featuring the railway viaduct, cottages and the oil and cake mill. 

Above is 'Boats, Lower Largo' dated 1926, looking west from close to the Orry.

So it was the early to mid years of the 1920s that Hunter frequently visited Largo. This was the same period of his life that he became increasingly associated with the other three Scottish Colourists: Samuel Peploe, Francis Cadell and John Duncan Fergusson. There were also trips to mainland Europe throughout the 1920s. In 1929, while in the French Riviera, Hunter suffered a breakdown and was brought back to Scotland by his sister to recuperate. Despite a period of recovery, his health deteriorated soon afterwards and he died in 1931 in Glasgow aged 54. Exhibitions of his work continued after his death and his art still commands huge interest today.

Largo must have had its fair share of interesting visitors passing through over the years. The photograph above features a particularly colourful character standing outside the entrance to Cardy House. The undated image, held in the St Andrews University Image Bank simply states "Print depicting a woman with a monkey. The monkey is sitting on top of a horse. The back is labelled 'Italian woman, name is Angelino?'".

Perhaps she was there as part of a larger troupe of entertainers - maybe when the 'shows' were in town. The image below shows precisely where this unusual photograph was captured, with 123 Main Street in the background.
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