6.3 Weaver's Cottage - Images - National Trust for Scotland

Weaver’s Cottage 

  

The National Trust for Scotland – Teachers’ Pack  

  

  

  

  

For more information, visit www.nts.org.uk/Learn 

The National Trust for Scotland for Places of Historic Interest or Natural Beauty is a charity 

registered in Scotland, Charity Number SC 007410 and depends for its support on the subscriptions 

of its members, donations and legacies. Copyright © 2011 the National Trust for Scotland. 

1 

 

The National Trust for Scotland Teachers’ Packs Weaver’s Cottage 

  

Contents                       Page 

1.0 Plan Your Visit 3 

1.1 The National Trust for Scotland 

1.2 Booking Your Visit 

1.3 The School Programme 

1.4 The Visit 

1.5 Risk Assessment 

2.0 Historical Background 10 

2.1 The Weaver’s Cottage 

2.2 Weaving in Kilbarchan and Paisley - a short history 

2.3 The Kilbarchan Weavers in the 1930s - an article 

2.4 Weavers’ Wages 1805 - 1840 - 1875 

2.5 The Cost of Living 1840 – 1875 

2.6 Glossary 

3.0 Classroom: ‘Reading, Writing & Arithmetic’ (Second Level) 19 

3.1 Mary’s Story - a child in 1875 

3.2 Mary’s Story – wordsearch 

3.3 Mary’s Story – scrambled Words 

3.4 Now and Then – complete the table 

3.5 Imagine - using the archive photographs 

3.6 Old money - new money 

3.7 Sums (using old money) 

4.0 Classroom: Words and Pictures (First Level) 28 

5.0 Classroom: Further Suggestions 34 

6.0 Weaver’s Cottage – Images 36 

7.0 Illustrations 40 

7.1. The Weaver’s Family 

7.2. From Sheep to Blanket 

7.3. How The Handloom Works 

7.4 Quilt 

7.5 Paisley Design 1 


8.0 Primary Sources: Census Records 47 

8.1 Census records – Weaver’s Cottage 1871 and 1881 

9.0 Primary Sources: Archive Photographs 52 

9.1 Archive photographs of Kilbarchan and Paisley 

10.0 Feedback sheet 58 

Please Note: Archive photographs included by kind permission of Mr. James McIntyre of Kilbarchan, and Paisley Museum & Libraries 

(Archives & Historical Photographs). They are for teaching purposes only and must not be reproduced without permission. 

    

For more information, visit www.ntslearning.org.uk 




2


  

  

  

  

  

  

  

  

  

    

  

1.0 Plan Your Visit 





3


  

1.1 The National Trust for Scotland 

The National Trust for Scotland is the conservation charity that protects and promotes Scotland's 

natural and cultural heritage for present and future generations to enjoy. With over 310,000 

members it is the largest conservation charity in Scotland and it depends for its support on 

donations, legacies, grants and membership subscriptions. 

Established in 1931(at the initiative of rural Scotland), the Trust acts as guardian of the nation's 

heritage of architectural, scenic and historic treasures. As an independent charity, not a government 

department, it acts on behalf of everyone to safeguard our heritage. 

The Trust is unique in that its activities cover the full range of cultural, built and natural heritage. 

Our challenge is to make this heritage relevant to the people of Scotland and all those who have an 

interest in Scotland's magnificent heritage. 

If you wish to find out more, then please go to our website: www.nts.org.uk/learn – where you can 

read and print the NTS Corporate Plan, Policies and Principles. 

Registered Scottish Charity Number SCO 07410 

NTS Membership 

With NTS Educational Membership, your school will support the conservation of Scottish heritage. 

There is an additional benefit of free entry to all Trust sites. There may be a charge for some of the learning 

programmes (to cover costs) but these will be reduced for members. 

Please remember to bring your membership card with you! 

If your school does not have NTS Educational Membership, it is possible to join on the day – just bring a 

cheque. You can also go to the National Trust for Scotland website: www.nts.org.uk/learn – or contact 

Learning Services. 

Learning with the National Trust for Scotland 

The school programme offers many opportunities for cross-curricular work and engaging with the Curriculum 

for Excellence. Further information for teachers, and other resources, can be found on the Trust website – 

www.nts.org.uk/learn 

    





4


  

1.2 Booking Your Visit 

Please phone the property manager at Weaver’s Cottage to book your visit. There is a Schools 

Booking Form available but you may be able to arrange the visit over the phone – the form will then 

be sent to you as confirmation. 

1.3 The School Programme 

Curriculum 

• The programme complements People, Past Events and Societies 

• It can also used as a basis for classroom work across the curriculum 

• The school programme is suitable for First and Second Level pupils 

• It can also be adapted for Early Years classes 

• Pupils above Second Level are welcome but the subject teacher should contact the property 

manager to discuss requirements 

The Programme 

The programme lasts approximately 1.5 hours. 

Younger children may dress in costume for the tours. 

Please split your class into 3 groups before arriving. It is helpful if each group wears different 

coloured labels! 

Aims 

1. To show the pupils a pre-industrial lifestyle (without power looms and ‘mod. cons’). 

2. To provide the pupils with an insight into the life of a working class Victorian family 

3. To relate a 20 th century child’s lifestyle to his/her 19 th century counterpart. 

4. To demonstrate the work of a handloom weaver. 

5. To encourage pupils to understand the significance of handloom weaving within the history of 

Renfrewshire. 

Content 

The pupils will learn about a pre-Industrial lifestyle by studying Weaver’s Cottage during the 1870s 

(Victorian period). At that time, there were no modern conveniences (running water, gaslight, 

electric machines) in the cottage. In the weaver’s shop, a handloom was used to make cloth. 

Although most Scottish towns were in the middle of the Industrial Revolution, and huge weaving 

factories had been established in places like Paisley, Kilbarchan concentrated on smaller specialised 

orders (making fine woollen cloth with complicated patterns) and the weavers continued to use 

handlooms. Their lifestyle remained much the same as in earlier days. 

According to the census records, the Christie family lived at Weaver’s Cottage in 1871, and for 

many years after this. 

    





5


  

1.4 The Visit 

Arrival 

Please knock on the main door (go up the steps) – a member of staff will greet your class. 

Activities 

1. The class will be divided into their 3 groups. 

2. Each group will participate in the following: 

• a tour of the cottage 

- the pupils will consider life in Victorian times (the cottage has a fully equipped kitchen with 

the fireplace and swee, and several set-in beds) 

• a visit to the weaving shop 

- the pupils will watch a handloom weaver at work (on an original Kilbarchan hand loom) 

- they will try some of the jobs performed by children in the past 

• object handling 

- the pupils will imagine a typical day in the cottage 

- they will look at and handle some of the objects they might have used (these are mainly 

replicas. The handling box includes: a kettle, shortbread mould, butter pats, washboard, 

carbolic soap, iron, candlestick, bellows, a Paisley shawl and rag rug sample 

If there is time, the class may visit the weaver’s garden which contains herbs and vegetables that 

link into the Cottage Tour. There are also several interesting historical features within the garden. 

Access and Additional Support 

We regret that there is no access to this small, historic cottage for wheelchair users because of the 

number of steps and the narrow passage-way at the entrance. 

Shop/Toilets 

There is no shop at Weaver’s Cottage because of the limited space. There is one toilet situated 

within the garden. 

Picnics 

There are no refreshments for sale on site but, weather permitting, your class are welcome to picnic 

in the garden. The garden is a safe area for children. There are no wet weather facilities. 

Pupil Behaviour 

Teachers are responsible for pupils and their behaviour. 

    





6


  

The Visit (continued) 

Photography 

We regret that no photography is allowed within the cottage – but photos can be taken in the 

garden. We can also arrange for the teacher to take a group photo (particularly if your pupils are in 

costume) 

Risk Assessments 

The site has been risk assessed. Teachers are expected to prepare their own RA for the visit. 

• There is more information about planning a visit to a Trust site on the NTS Learn website: 

www.nts.org.uk/Learn/schools_plan.php 

• For more information about Weaver’s Cottage, please go to our web pages: 

www.nts.org.uk/Property/Weavers-Cottage/ 

Getting There 

The Weaver’s Cottage is half a mile off the A737, south-west of Johnstone. It is signposted from the 

A737. 

    





7


  

1.5 Risk Assessment 1 

The Weaver’s Cottage School Programme 

RA: Page 1 of 2 

Introduction for Teaching Staff 

• A List of Activities has been produced to help you prepare for your visit. 

• Please use the List of Activities to prepare your own Risk Assessment (RA). 

• Take time to read through the list carefully. 

• Be aware that there could be some changes (for instance, temporary repair work on site). 

• You are in charge of your pupils throughout their visit to a Trust site. 

• Class teachers may visit a Trust site free of charge, once they have made a booking. 

• We recommend that you visit the site before your school programme - to plan the day and 

complete your Risk Assessment. 

• Remember to discuss your RA with any adult helpers who will be taking part in the school 

programme with your pupils. 

Learning is an important part of the work of the National Trust for Scotland (NTS), and the safety of 

pupils and adults from visiting schools is important to us. Each School Programme is designed to be 

an enjoyable learning experience. To ensure that the day runs smoothly and safely for all involved, 

we ask that pupils are well organised and attentive. 

The National Trust for Scotland staff and/or workshop leaders will be occupied with the delivery of 

activities for your pupils during the visit - so the behaviour of the pupils remains the responsibility of 

the school. 

Recommended ratio of teacher/supervising adult to pupils: 

8 years and over: 1 adult per 10 pupils 

Under 8 years: 1 adult per 5 pupils. 

Pre-school: 1 adult per 2 pupils 

All NTS staff who are in charge of school visits have completed Disclosure. 

Information sheets: Visiting a Trust Site and Outdoor Visits: Safety First are available on the NTS 

website: www.nts.org.uk/Learn, under Teachers: Plan Your Visit. 

If you have any queries about any element of the programme, please contact the Weaver’s Cottage 

property manager. 

Thank you for your assistance. We look forward to welcoming you for an enjoyable visit! 

    





8


  

Risk Assessment 2 

The Weaver’s Cottage School Programme 

RA: Page 2 of 2 

List of Activities – for Teacher’s Risk Assessment 

Outline of Activity: Tour of Cottage 

Risks Identified: Staircases and steps: potential trip hazard 

Reduce Risks: An adult will lead the group and control the speed, pupils should move slowly, no 

pushing, an adult from the school should supervise 

Outline of Activity: Tour of Cottage 

Risks Identified: Sharp or heavy objects in some rooms. 

Reduce Risks: Pupils and adults are requested not to touch any items when visiting the cottage 

(except for selected educational items); and adult from the school should supervise the pupils 

Outline of Activity: Handling Objects (provided for educational use) 

Risks Identified: Some items could be heavy (e.g. the iron) and if dropped may cause an injury. 

Reduce Risks: Care should be taken with all handling objects; this will be pointed out to the pupils. 

Outline of Activity: Wearing Costume 

Risks Identified: Clothes not fitting, pupils unsure what to do, trip hazard from long skirts or aprons 

Persons at Risk: All pupils, female pupils 

Reduce Risks: Time is allowed to provide safety instructions. Ensure the teacher/an adult from the 

school supervises the fitting and wearing of all the costumes for the pupils (girls and boys). Long 

skirts or aprons: Ensure that they are at or above the girls’ ankles. Girls pick up their skirts on the 

stairs. Adult helper at back of group keeps an eye on the girls. Ensure safety warning given to the 

girls, and this is repeated when using the stairs. 

Outline of Activity: Weaver’s Shop 

Risks Identified: Old loom, things hanging from loom, other equipment in room, uneven floor 

Persons at Risk: All pupils, teachers/adults from school 

Reduce Risk: Instructions given about the weaver’s shop. Everyone should move carefully in the 

room. When watching the weaving demonstration and when trying out activities, pupils should 

take extra care. An adult from the school should help to supervise the activities. 

    





9


  

    

  

2.0 Historical Background 





10


  

2.1 The Weaver’s Cottage 

The Weaver’s Cottage was built by Andrew, John and Jenat Brydein in 1723. Their names appear 

on the lintel over the front door. At that time there were several similar cottages in the village of 

Kilbarchan. 

In 1801, the cottage was bought by William Christie. His descendants lived here until the 1940s. 

In the mid 1800s, there were two families living in the cottage, one on either side of the close. The 

Christies rented out the rooms to increase their income. (The 1861 census showed twelve people - 

including the McIntyre family, consisting of man and wife, grandfather and three children.) 

In 1871, William Christie, his wife Janet and 4 daughters (Jessie, Mary, Joanne and Agnes) lived in 

the cottage. They were still there in 1881. 

On the census records: 

1871: William 37 Brassfinisher 1881: 47 Brassfinisher 

Janet 35 45 

Jessie 10 Scholar 20 Wool weaver 

Mary 8 Scholar 18 Wool weaver 

Joanne 4 Scholar 14 Wool weaver 

Agnes 2 12 Scholar 

Mary Christie made a sampler which is on display in the cottage. Her sister Agnes never married 

and remained in the family home. There is a photograph of her standing at the cottage door, also on 

display. 

After the death of Miss Agnes Christie, in 1953, the cottage passed to Mr. and Miss Simpson, who 

were William Christie’s great-great-grandchildren. They offered it to The National Trust for 

Scotland. In 1957, the Trust opened the cottage as a museum of the local weaving industry. 

    





11


  

2.2 Weaving in Kilbarchan and Paisley: a short history 

Handlooms, Jacquard Looms and Power Looms 

Handlooms have been used for centuries. Handloom weaving is laborious work. It could take a 

weaver three days to set up the loom before weaving could begin. The more complicated the 

pattern, the longer it took the weaver to set up the loom and to weave the cloth. Good weavers 

earned high wages because it was difficult work. Weavers tended to be very clever people. They 

were known for their literacy and their learning. 

Some weavers used draw looms. Draw looms had extra drawstrings on a harness mechanism which 

was attached above and to one side of the loom. The weaver had to employ a drawboy or girl 

(usually a boy) to pull or draw the mechanism when required. Immensely complicated patterns 

could be produced on draw looms because the extra drawstrings multiplied the weft combinations. 

In 1801, the Jacquard loom was patented. This used a chain of pattern cards (with punched holes to 

indicate the pattern). Jacquard looms produced complex patterns without the use of the extra 

drawstring mechanism or the use of a drawboy. Handloom weavers would make their own designs 

and punch the cards themselves. They worked out the pattern and then made the cards using the 

binary system. Jacquard pattern cards are the precursor of computers. 

The first Jacquard looms were handlooms but they were very tall and also very expensive so, though 

some were installed in individual houses, they were more suited for use in factories. After 1830, 

power looms appeared. The power looms increased the size and number of factories. 

However, the soft spun yarns of wool, used by Kilbarchan and Paisley weavers, were unsuitable for 

the heavy mechanical action of the early power looms. In the 1850s, woollen power looms were 

only a little faster than handloom weavers. (The cotton power loom was over four times faster.) 

Until the 1860s, the Jacquard power looms were also less efficient than handlooms for fancy 

weaving. The Jacquard looms used to make the original Paisley shawls were all handlooms. 

Handloom weaving took longer. From the 1830s, the wages for handloom weavers decreased. 

Gradually, their traditional life and work began to disappear. 

Kilbarchan 

By 1695, between thirty and forty weavers were working in Kilbarchan, making cambrics, muslins 

and lawns. Expansion began in 1739, when the Barbours set up a linen factory, followed three 

years later by the Speirs, who made lawns. Striped and spotted muslins were being made in 1782 

and, by 1791, there were 383 looms in the village. 

The Kilbarchan weavers produced fancy weaving (opposed to plain weaving) and their work was 

much in demand. Peak production was reached in the 1830s, when there were 800 looms in the 

village. Most of the looms were the same kind as the one at Weaver’s Cottage. 

    





12


  

Even when the Jacquard handlooms and the power looms were taking over, in other areas of 

Scotland, Kilbarchan maintained its tradition of handloom weaving. The Kilbarchan weavers 

managed to corner a market - they concentrated on smaller, specialised orders and made high 

quality woollen cloth with especially complicated patterns, such as tartans. At one stage, the narrow 

muslin looms were widened so that the weavers could produce ponchos for the South American 

market. Because of their expertise, and their willingness to diversify, the Kilbarchan handloom 

weavers continued to find work. In this way, Kilbarchan was unique. 

Even so, Kilbarchan’s cottage industry declined. By 1900, there were only 200 looms left. By the 

1930s, there were 20 looms, making tartans, and by 1950, there were four. William Meikle was one 

of the last handloom weavers in Kilbarchan. His loom was dismantled and set up at The Weaver’s 

Cottage. The 200 year old handloom, at Weaver’s Cottage, is still used today, producing tartans 

and blankets. The weaver works in exactly the same way as Mary Christie worked in the 1800s - a 

process which has not changed for hundreds of years. 

Paisley and Paisley Shawls 

Fancy weaving was established in both Kilbarchan and Paisley in the second half of the 1700s, and 

expanded rapidly. The weavers produced fine products from linens, muslins, ginghams, and later, 

silks. Fine silk threads are particularly difficult to weave and required skilled craftsmen. 

At the beginning of the 19 th century, the Paisley weavers developed their “pine pattern” shawl in 

“imitation of the Indian”. Indian and Persian shawls were highly prized - the best could sell for as 

much as £300 though cheap imitations could be bought for around £20. The Paisley shawls sold 

for less than the best Eastern ones, but were still of a very fine quality. They became immensely 

popular. Many women owned several Paisley shawls, for different occasions or seasons. 

In 1766, there were 1,767 handloom weavers in Paisley. In 1803, with the new shawl 

manufacture, there were 7,000 weavers in the town. 

The weavers used botany wool warp and silk weft. At first, they used draw looms to produce the 

intricate reversible designs and could make individual shawls to order. However, it took two weeks 

for a weaver to produce one shawl. On the new Jacquard looms, he could make the same shawl in 

one day. 

Factories were built to accommodate the Jacquard handlooms. Some factories held hundreds of 

looms. The factories attracted workers and many families moved to Paisley. Companion industries 

were established around the same time, such as the treadmills, spinning mills and dye works. 

Paisley became a thriving industrial city. 

The Paisley shawl industry was at its height between 1805 and 1870. Around 1870, however, 

fashions changed. Instead of women wearing fine muslin dresses or (later) big crinoline dresses, 

which suited the large Paisley shawls, they now began to wear dresses with bustles. These dresses 

were elaborately detailed at the back and women did not wish to hide the detail with a shawl. 

Instead, they bought tailored jackets and stopped wearing Paisley shawls. Paisley paid the price for 

over specialisation. However, the Paisley pattern itself continued and remains very popular today. 

    





13


  

Tartan and Robert Burns 

In 1783, the Dress Act was repealed and the Scots were able to wear tartan again. This led to the 

kilt becoming the national dress. Originally, the Highland clans had worn tartan plaids - but the 

new national dress was adopted by both Highland and Lowland families. In 1822, King George IV 

wore a kilt on his state visit to Scotland. 

In 2009, the weaver at Weaver’s Cottage, Christine Macleod, wove a tartan bed cover for the Robert 

Burns Birthplace Cottage. All the weaving techniques and tools used by Christine would have been 

familiar to Robert Burns. There are many references to weaving in his poetry and songs. Burns did 

not wear a kilt but he was familiar with tartan (though it was banned during much of his life-time). 

The tartan design of the bed cover told a simple story about the Burns family who once lived at the 

cottage in Alloway. Many people contributed to the making of the bed cover, by winding pirns for 

the weaver, while the yarn for the blanket was kindly donated by Gardiner of Selkirk. 

2.3. The Kilbarchan Weavers in the 1930s: an article 

(Taken from “In Scotland Again” by H.V. Morton, 1933) 

“...I turned off at Johnstone and came in time to a place where the Paisley tramcars end. There was 

a long steepish hill and on the top of it was the village of Kilbarchan, the last place left in Scotland 

where a colony of hand-loom weavers make clan tartans. 

I looked through a window which, like most of the windows in Kilbarchan, was low and flush with 

the street. Inside sat an old woman at a hand-loom. I heard the clack-clack of the flying shuttle. 

The evening sun fell through the window and lit up a piece of red dress tartan which the woman 

was making. I watched her for a long time. She would consult a ticket which hung on the loom in 

front of her, change a shuttle loaded with red wool for one loaded with green, and then - clackclack, 

clack-clack, clack-clack - a thin green line would grow on the edge of the red cloth. 

I entered and talked to her. She looked at me over the rim of her spectacles and went on making 

the tartan, answering me as she worked. She told me that in Kilbarchan is the last colony of handloom 

tartan weavers in Scotland. Each one is over fifty years old, most of them are women and one 

old man is over eighty. 

“And when we’re deid,” she said, “there’ll be nane to come efter us, for the young ones 

wilna learn the loom!” 

Fifty years ago, she told me, there were eight hundred looms working in Kilbarchan, making clan 

tartan as fast as they could. Today there are only twenty looms and no apprentices to follow on. 

My visit to the last twenty tartan weavers of Kilbarchan was one of the most delightful experiences I 

have had in Scotland. 

    





14


  

I would enter a small house. Looms filled the front rooms. Although it was dusk, the shuttles were 

clacking like mad, for, as one old lady put it: “Nae weaver wastes daylight.” In some a whitehaired 

woman sat at a spinning wheel and handed the wool straight from the wheel to her 

companion at the loom. 

The good nature and good humour of these old people went to my heart. They knew nothing 

except that they were weaving tartan for a cloth merchant. He would send down the material and 

the instructions for the sett. They simply had to follow out the regulation pattern: so many threads 

of red, so many of green, then so many white, and so on. A quick worker could make from seven 

to ten yards in a day. 

The pay is one shilling a yard. This seemed miserable to my mind when hand-made tartan sells at 

fifteen or twenty shillings a yard - but the weavers refused to feel under-paid. 

“It’s the best Botany wool,” they explained, “and it’s verra expensive. We havena ony 

responsibility but to weave it...” 

I met Sandy Grey, who is over eighty years of age. He started weaving seventy years ago. He stood 

in Shuttle Street and told me how Kilbarchan sounded in his youth when eight hundred looms were 

working from daylight to dark. 

I also met William Meikle. Today, he is the only man in Scotland - probably in the world - who can 

weave two clan tartans at once. These are travelling rugs. On one side is the husband’s tartan, on 

the other the wife’s. I watched him at work on a rug of Grant tartan, the reverse side of which was 

a MacLean. This is probably the most difficult hand-loom job anyone could tackle. 

“How on earth do you do it,” I asked. 

“Well, my eye’s on the MacLean and my mind’s on the Grant.” 

In a few years’ time loom after loom will become silent and a great and historic industry will be 

dead. 

“Aye, it’s a tragedy,” said William Meikle, “for there’s no other trade like weaving where a 

man can make his ain money in his ain hame and sit at the loom watching the flowers in his 

garden.” 

William Meikle’s skills became well known and he was asked to weave a tartan for the royal 

family. In 1938, he demonstrated his skills at the Empire Exhibition in London and, in 1951, was 

asked to attend the Toronto Exhibition, Canada. He died in 1955. 

William Meikle’s loom is now in Weaver’s Cottage – and the craft of hand loom weaving continues 

there. 

    





15


  

2.4 Weavers’ Wages 1805 - 1840 - 1875 

The Statistical Account of Scotland - Parish of Kilbarchan, 1845 

“...in this village the hand-loom is all but universally employed. The unprecedentedly flourishing 

state of this branch of our national industry for some years, in the close of the last and beginning of 

the present century, when in certain times 10s. per day could be earned by a good workman, 

naturally attracted to it almost the entire disposable labour of such a place as this...” 

1791: Looms in village 383 1836: Looms in village 800 

Looms in country 20 Looms in country 30 

Population 2506 Population 4806 

Weavers’ Average Weekly Wage 

1805 30 shillings (30 - 35 shillings per week) 

60 shillings (10 shillings a day - for special orders) 

1840 6 shillings (1 penny an hour - 72-hour week) 

1875 18 shillings (approximately – varied on type of work) 

Cotton Millworkers’ Average Weekly Wage - Kilbarchan 1845 (comparison) 

80 workers 16 - 30 shillings 



    





16


  

2.5 The Cost of Living 1840 - 1875 

Cost of Some Basic Items (cheapest brands) 

1840: 

Bread, large loaf 8d. Milk, pint 1½d 

1llb. Oatmeal 2d. 5lbs. potatoes 2d. 

1lb. tea 4s. 0d. 1lb. sugar 8d. 

1lb. butter 1s. 0d. 1lb. bacon 8d. 

Eggs, per dozen 8d. 1lb. soap 6d. 

1lb. candles 6d. 1 bag of coal 1s. 6d. 

1875: 

Bread, loaf 5d. Milk, pint 1½d. 

1lb. oatmeal 3d. 5lbs. potatoes 4d. 

1lb. tea 2s. 0d. 1lb. sugar 6d. 

1lb. butter 1s. 6d. 1lb. bacon 6d. 

Eggs, per dozen 1s. 6d. 1lb. jam 6d. 

1lb. candles 7d. 1lb. soap 4d. 

1 bag of coal 1s. 3d. 

The cost of some basic items dropped when transport became more efficient (better roads and the 

new railway network). 

Rent (per week) 

1840 Small dwelling between 1/2d and 2/- 

1875 Small dwelling 3/- 

House with 5 rooms, scullery and small garden 5/6d. 

    





17


  

2.6 Glossary 

Weaving the interlacing of two sets of threads over and under each other to form a fabric 

Warp the series of threads running up and down the cloth (longitude) 

Weft the series of threads running across the cloth (horizontal) 

Plain weave simplest form of woven cloth – warp and weft being woven alternatively over one and 

under one 

Fancy work silk or wool woven in complicated, very fancy patterns 

Linen from the plant called flax, once grown all over Ayrshire and Renfrewshire and 

harvested 

Flax dresser someone who combed out (untangled) the flax threads so they could be woven into 

linen cloth 

(Burns became a flax dresser in Irvine briefly) 

Lawn fine woven linen 

Loom device used by which warp and weft are woven together to 

form a fabric. The basic principles of a loom are the same now as they were in 

prehistoric times 

Handloom loom where cloth is woven by hand by the weaver 

Draw loom loom with an additional set of threads added above the 

main part of the device – this multiplied the variations of 

a pattern many times over. The loom required a drawboy 

to ‘draw’ the extra set of threads for the weaver – move them into place when 

required. These- looms needed greater ceiling height so were not used in Kilbarchan - 

they were used in special weaving sheds in Paisley 

Pirn A reel or bobbin; the spool in a shuttle 

Power loom loom running on steam power (looms now run on electric power) 

Jacquard loom could be a handloom (originally) or later a power loom. Used 

pattern cards to dictate the pattern of the cloth – and greatly speeded up the weaving 

process. Weavers designed the patterns by punching holes into the cards, using the 

binary system (and so effectively these were the first ‘computers’) 

Brassfinisher industrial work – making brass pieces – could be for steam engines, train carriages 

and other machines 

    





18


  

  

    

  

3.0 Classroom: ‘Reading, Writing & 

Arithmetic’ (Second Level) 





19


  

3.1 Mary Christie’s Story – a child in 1875 

My name is Mary. I am twelve years old. I live with my family at Number One, Shuttle Street, 

Kilbarchan. I have three sisters. My elder sister is called Jessie. She is fourteen years old. She left 

school last year and is now a wool weaver. My two younger sisters are called Joanne and Agnes. Jo 

is eight and Aggie is six. 

My parents are called William and Janet Christie. My father is a brassfinisher at the locomotive yard 

where trains are built. My father makes brass pieces for the steam engines and the carriages. 

At one time, my father would have been a weaver. Fifty years ago, there were eight hundred 

handlooms in Kilbarchan. The weavers did fancy work which meant that they wove silk or woollen 

cloth into very fancy patterns. The weavers’ work was much in demand and they could earn 

between thirty and sixty shillings a week which is an awful lot of money. 

It is very different now though. Now there are about half that number of looms in the village and 

many of the weavers are women and girls. The best handloom weavers might earn ten shillings a 

week. 

My father says that the Jacquard [Jack-ard] looms and the power looms destroyed the fancy weavers’ 

trade. The Jacquard looms are handlooms but they use pattern cards to make the fancy patterns. In 

Paisley, an ordinary handloom weaver would take two weeks to weave a Paisley shawl but, using a 

Jacquard loom, it only takes one day. Paisley has factories full of these looms - so lots of shawls are 

made. 

The power looms are powered by steam. They are very noisy but they do the weaving for you. We 

don’t have any weaving factories in Kilbarchan. We still have the old handlooms within our homes. 

My sister Jessie weaves woollen blanket cloth on our handloom. She does outwork. That means that 

she gets an order from the blanket manufacturer to make so many lengths of cloth in a month, and 

she has to make sure that she does them. She works very hard but she still only earns six shillings a 

week. 

I go to school. Three years ago, there was a law passed which said that all children must go to 

school five days a week, except in the school holidays. We must attend school until we are thirteen 

years old. My mother was not very pleased when the law was passed. She said that, when she was 

a child, the boys went to work and the girls stayed at home and helped out. 

I help out before and after school. I wind pirns for Jessie and I look after my younger sisters. At 

school, I learn reading, writing and arithmetic. We also have drawing and nature studies. Every 

Wednesday afternoon, the girls have sewing and the boys have football. We all have to do drill. 

My mother thinks that it is unseemly for girls to do drill. 

    





20


  

Sometimes, I play out with my friends. We like playing peevers in the street. We get a stone and 

mark out the scotch in the dirt. If a horse and cart comes along, we have to move out of the way. 

The cartwheels sometimes run over our scotch so then we have to mark it out again. If it rains, the 

street becomes very muddy. When Aggie was younger, she loved making mud pies and jumping in 

the puddles. Aggie can be very naughty so I have to watch her closely. 

The boys often play football in the street. If they haven’t got a ball, they use a stone or a tin. I like 

football but when the boys go bird-nesting, I stay behind because I don’t enjoy that. 

I love school but I know I will have to leave soon and find a job. I expect I will become a wool 

weaver like Jessie. I really want to go to University but girls don’t do that sort of thing. 

    





21


  

3.1 Mary Christie’s Story – a child in 1875 

K 

C 

H 

R 

I 

S 

T 

I 

E 

W 

I 

N 

Z 

O 

D 

P 

H 

N 

V 

O 

Can you find the answers in the Word Search? 

Circle each word you find: 

L 

O 

O 

M 

F 

S 

I 

L 

K 

O 

1. Mary’s surname 

2. The name of her street 

3. The name of her village 

4. Jessie’s job 

5. She uses a _ _ _ _ 

6. The weavers used to do fancy work. They wove in wool or _ _ _ _ 

7. There are _ _ _ _ hundred looms in the village in 1875 

8. The power looms run on _ _ _ _ _ 

9. Jessie earns _ _ _ shillings a week 

10. At school, the girls have to _ _ _ 

11. The age Mary will leave school 

12. Mary helps her family by winding _ _ _ _ _ 

13. A favourite game 

14. The boys liked to look for birds’ _ _ _ _ _ 

B 

P 

E 

Q 

O 

D 

R 

A 

Q 

L 

    

A 

F 

S 

H 

U 

T 

T 

L 

E 

W 

R 

R 

T 

L 

R 

N 

E 

N 

U 

E 

C 

S 

E 

W 

O 

J 

E 

E 

S 

A 





H 

B 

A 

P 

I 

R 

N 

S 

I 

V 

A 

N 

M 

D 

P 

R 

D 

T 

X 

E 

N 

P 

E 

E 

V 

E 

R 

S 

W 

R 

22


  

3.3 Mary’s Story – Scrambled Words 

Unscramble these words – they are all in Mary’ story: 

Mary’s sisters: gsenA sesJei aonJen 

Some weavers use it: ndlomaoh 

A favourite game: lfobloat 

Aggie used to like them: dmu psie 

Mary would like to go there: nivyusiter 

Where children must go now: loshoc 

Mr. Christie’s job: rsfnihriessab 

Another type of loom: jcadrqua 

And another: rloopwome 

A way to travel: shore nda trac 

    





23


  

3.4 Now and Then 

Complete the chart: 

I live in… 

I get up at … 

I wear… 

I have for breakfast… 

The three most important school 

lessons are… 

My favourite lesson is… 

My favourite tv programme is… 

My favourite book is… 

One of my jobs at home is… 

7 o clock 

Porridge 

Nature studies 

I travel to most places… On foot – 

My favourite game or hobby is…. 

MARY - 1875 

Alice in Wonderland 

some people go by carriage or 

train 

    

ME - today 





24


  

3.5 Imagine 

Write an Account: 

1. Look at the photographs of people in the old days. 

2. Choose one person in one of the photographs. 

Imagine: 

• you are that person 

• someone is asking you about your life 

Write about your life: 

You could begin with: 

My name is …….. 

What is your life like? 

Where do you live? 

What is your family like? 

Do you work or go to school? 

Are you happy? 

Interview each other: 

1. Work in pairs 

2. Look at the photographs of people in the old days. 

3. Each select a (different) person in one of the photographs. 

  

• Each choose a character from one of the photographs: a ‘historical character’. 

• Tell your partner who you are. 

• Think about your character – where do you live, what do you do, what is your family like? 

• Now each pretend that you are a reporter! 

• Each write down 10 questions you want to ask the other person (the historical character). 

• Now take it in turns to interview each other, asking your 10 questions and noting down the 

answers. 

    





25


  

3.6 Old Money - New Money 

Symbols: 

1 penny 1d. 

1 shilling 1/- 

1 pound £1 

How many? 

4 farthings (¼d) = 1 penny 

2 halfpennies (½d) = 1 penny (pronounced hape-nee) 

12 pennies = 1 shilling 

20 shillings = £1 

Threepennny bits, sixpences and half crowns: 

A threepenny bit = 3 pennies (3d.) (pronounced threp-nee) 

A sixpence = 6 pennies (6d.) 

A half crown = 30 pennies (30d.) 

A half crown = 2 shillings and 6 pence (2/6d.) 

Old money - new money: 

One old penny = ½p. 

One old shilling = 5p. 

One old sixpence = 2 ½p. 

One old threepenny bit = 1 ½p. 

Half a crown = 12 ½p. 

    





26


  

3.7. Sums (Using Old Money) 

Arithmetic 

These are the sort of sums Mary learnt at school. 

If you can, work it out in your head: 

1. How many halfpennies in one shilling? 

2. How many farthings in one shilling? 

3. How many pennies in five shillings? 

4. How many sets of five shillings are in £1? 

5. How many half crowns in £1? 

6. How many half crowns are in five shillings? 

7. What is half of £1? 

8. How many pennies in £1? 

You can work these out on paper: 

1. How many pennies in one third of a £1? 

2. Now put that into shillings and pence. 

3. How many pennies in two thirds of a £1? 

4. Now put that into shillings and pence. 

Trick Sums 

Children were expected to do these sums in their heads - they look hard but they can be worked out 

easily. Can you see how? 

1. If one loaf of bread costs fivepence, how much will a dozen loaves cost? 

2. If one egg costs a penny halfpenny, how much will one dozen eggs cost? 

3. Mrs. Green pays three shillings a week rent for her cottage. How much will she pay in 20 

weeks? 

4. Mr. Brown pays six shillings a week rent for his house, how much will he pay in 5 months? 

    





27


  

  

  

  

    

  

4.0 Classroom: Words and Pictures 

(First Level) 





28


  

4.1 Words and Pictures 

cottage 

door window 

    





29


  


doll 

blanket 

cradle 

    





30


  


I see the cottage. 

I like the cottage. 

I see Weaver’s Cottage. 

I like Weaver’s Cottage. 

    





31


  


The doll is in the cradle. 

    

  

  

  

The door is open. 





32


  


loom 

weave 

weaver 

cloth 

tartan 

shuttle 

wool 

basket 

spin 

spinner 

spinning 

spinning wheel 

by the fire 

    





33


  

  

  

  

  

    

  

5.0 Classroom: Further Suggestions 





34


  

6.1 Further suggestions for Classroom Work 

• Imagine living in a home without any ‘mod cons’ at all – how do you cook, wash clothes, etc? 

Consider today - what happens if there is a power cut? How many of the pupils’ homes can cope (eg 

have gas, have open fires)? This could be connected to People, Place and Environment – looking at 

places in the world which do not use electricity 

• Compare the life of a family in Victorian Kilbarchan (using handlooms, cottage industry) with that of a 

family living and working in industrial Paisley (big factories). This could be combined with a visit to 

Paisley Museum 

• Compare three different 19 th century houses: working class cottage, middle class and upper class 

homes 

• Look at one aspect of Victorian life - for instance, The Victorian Child 

• Have a Victorian School day 

• Learn simple spinning and weaving – obtain hand spindles or get pairs of children to gently draw out 

and twist lumps of sheep’s wool to make threads. Make simple weaving cards so each pupil can 

create a table mat (and learn the principles of weaving): you need a rectangle of card per pupil (or a 

postcard) - leave a ‘frame’ round the outside - cut horizontal slits into the card – let pupils use 

coloured strips of paper to weave in and out of the slits – secure the paper strips at the back of the 

card. (Or pupils can weave using wool they have spun or drawn out into threads – it does not matter 

if the wool is ‘lumpy’ – weave abstract patterns using different coloured wools). Ask at the Weaver’s 

Cottage for suppliers of spindles, carders, wool, etc. 

• Use a table handloom to create a class fabric – learn principles of weaving and consider simple 

technology 

• Compose and record a class sound poem – this could be ‘a day in the life of Victorian children’ - use 

the sounds within the weaver’s cottage throughout the day – e.g. getting up, dressing, washing, 

cooking, helping in the weaving shop; you could include sounds from outside e.g. water being 

gathered, chopping wood, games 

• Learn the country dance Strip the Willow – this is a weaving dance 

    





35


  

  

    

  

6.0 Weaver’s Cottage - Images 





36


  


    





37


  


    





38


  

6.3 Weaver’s Cottage - Images 

Housecoat (material – Paisley design) 

    





39


  

  

  

  

    

7.0 Illustrations 





40


  

7.1 The Weaver’s Family 

    





41


  

7.2 The Loom 

    





42


  

7.3 From Sheep to Blanket 

    





43


  

7.4 Quilt 

    





44


  


    





45


  


    





46


  

  

  

  

  

  

  

  

    

  

8.0 Primary Resources 

Census Records 





47


  

8.1 Census Record 1871 

    





48


  

8.2 Census Record 1871 - Questions 

    





49


  

8.3 Census Record 1881 

    





50


  

8.4 Census Record 1881 – Questions 

    





51


  

  

  

    

9.0 Primary Resources 

Archive photographs of Kilbarchan and Paisley 





52


  

9.1 Kilbarchan Archive Photographs 

Weaver’s Cottage in foreground (right) 

Steeple Street, Kilbarchan 

The bell-ringer 

Included by kind permission of Mr. James McIntyre, Kilbarchan History Society. (Not to be reproduced without permission.) 

    





  

  

  

53


  

Schoolchildren 


  

    





  

  

54


  

The water pump 

The doctor 


    

  





  

  

55


  

9.1 Paisley Archive Photographs 

Included by kind permission of Paisley Museum & Libraries (Archives & Historical Photographs). They are for teaching 

purposes only and must not be reproduced without permission. 

    





  

  

56


  

    

  

Woman in her home 

Can you see her cat? 

Included by kind permission of Paisley Museum & Libraries (Archives & Historical Photographs). They are for teaching 

purposes only and must not be reproduced without permission. 





  

57


  

  

  

  

  

  

    

  

10.0 Weaver’s Cottage: Feedback 





58


  

10.1 Weaver’s Cottage Feedback Sheet 

School: (optional) ………………………………………………………………………………………………….. 

INFORMATION Yes No Comments 

I received sufficient information 

before our visit to Weaver’s Cottage 

Our visit to Weaver’s Cottage met 

my requirements 

The visit met the requirements of 

the Curriculum for Excellence 

The tour and activities were aimed 

at the right learning level for my 

pupils 

The teachers’ pack was/is useful. 

I have used/will use the 

differentiated activity sheets for my 

pupils 

ACTIVITY Met the pupils’ requirements and were of the following standard: (please tick) 

Introduction 

Tour of House 

Object Handling 

Weaving Shop 

Any other comments 

about your visit? 

Excellent Very good Good Okay 

    

Did not meet 

requirements 

Thank you for taking time to complete this form. Your feedback is very useful. Please return your form to: 

The Property Manager, 

Weaver’s Cottage, 

The Cross, 

Kilbarchan, 

Renfrewshire PA10 2JG 





59

6.3 Weaver's Cottage - Images - National Trust for Scotland

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?