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Elizabeth Thompson, 1846-1933, Scotland Forever!, c. 1881
Scotland Forever! is an 1881 oil painting by Lady Butler (also known as Elizabeth Thompson), an artist that specialised in painting battle and military scenes. It portrays the charge of the Royal Scots Greys at the battle of Waterloo. It is named after the battle cry of the soldiers, who were shouting "Now, my boys, Scotland forever!” as they attacked the enemy. More than a quarter of them died during the battle, and another quarter were left wounded. This painting is one of the most famous images of that historic battle. It was exhibited at the Egyptian Hall in Piccadilly the same year it was painted, and donated a few years later to Leeds Art Gallery.
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Elizabeth Thompson, or Lady Butler, (1846-1933) was a well-known artist who produced many paintings portraying battles and military scenes. Unlike many other artists, she commented in 1922 that she did not use paint “for the glory of war, but to portray its pathos and heroism”.
As an artist, she initially focused on religious themes, but when she moved to Paris and was exposed to battles scenes, she shifted her focus to paintings based on war. She quickly became one of the leading artists in this area in Europe, and one of the few women who painted battle scenes.
Some of her most notable paintings such as The 28th Regiment at Quatre Bras, or Scotland Forever! portray battles from the Waterloo campaign and mainly show British soldiers, exhausted, fighting an enemy who is almost never represented in the scene. Even though her most famous work show battles and soldiers, she never actually observed a battle herself, but she watch her husbands’ regiment during training, and paid extremely close attention to the horses and they how the acted when charging. She also had copies of the soldier’s uniforms made in order to be able to paint them with as much detail as possible.
First, the practical benefits. It is a widely held misconception that this thin layer of material is only used for aesthetic purposes. However, a tailor will look at a jacket lining as a fabric utilised to support the garment. You might notice that the very best looking suit jackets have a certain gravitas, weight and shape that anchors the entire look of a suit. You can attribute much of this ‘feel’ to a good jacket lining, which fortifies the structure and adds weight and heft. It may seem counter-intuitive, but the addition of the extra weight allows the garment to better sit along the contours of the body.Half vs. Fully Lined. This is not as simple as a half-lined jacket is a cost saver, it can also be a practical consideration, with half-lined generally being preferred in the warm summer months, and fully-lined for cooler winter temperatures. It is also worth noting that a lined jacket is much harder to crease.
Now to the aesthetic. The jacket lining deftly hides the interlinings, stitching and raw edges. A properly constructed jacket to sit perfectly on the body is quite a complex construction and a lining allows the remaining evidence of that complexity to be neatly hidden. Finally, to the design itself. A flat colour will complete the jacket, but a bespoke lining will make the jacket truly one of kind. Something that only increases the emotional connection the wearer has towards the garment.
Click here to read our Complete Guide to Jacket Linings.
Macclesfield was once the centre of the English silk weaving industry and the world's biggest producer of finished silk. The area has been printing silk for over 300 years and at one point had over seventy mills operating in the town. The town is close to a water supply that passes through limestone, and when used in washing and dyeing it gives silk a uniquely attractive lustre.
Our silk linings are printed at a mill that has been producing printed fabric on the same site for the past fifty years and the process uses water sourced from its own reservoir.
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