Demarco's Europe by Richard Demarco & Roddy Martine sampler

Richard Demarco’s impact on the international promotion of the performance
and visual arts in the second half of the 20th century is legendary. An Italo-Celtic
artist born in Edinburgh in 1930, he attended Edinburgh College of Art and became
as co-founder of the pioneering Traverse Theatre Club in 1963.
Three years later, he established what was to become The Richard Demarco
Gallery which, until 1992, doubled as an exhibition and performance venue for
the Edinburgh Festival. It is no idle boast that Demarco has personally experienced
every Edinburgh International Festival since its inception in 1947, contributing to its
innumerable manifestations – conferences, symposia and master classes. A key to his
success was his promotion of cultural links with Eastern Europe, supporting artists
of the calibre of Paul Neagu and Marina Abramović, and organising ten exhibitions
of contemporary Polish, Romanian and Yugoslav art to establish ongoing cultural
links for Scottish artists across Europe and beyond.
His close friendship with the German artist Joseph Beuys led to the creation of
Strategy: Get Arts, a landmark exhibition featuring 35 influential Düsseldorf-abased
artists. From 1993 until 2000, Demarco was Professor of European Cultural Studies
at Kingston University. In 1974, he was honoured with a Gold Medal from the Polish
Government and in 1986 was made a Cavaliere of the Italian Republic.
At a ceremony held in the European Parliament in Brussels in 2013, he was the
recipient of the European Citizens Award, the only UK citizen and arts representative
to be nominated for this honour. In 2025, he was given the Scottish European
Citizen Award at a ceremony held in the Scottish Parliament. In 2025, the Demarco
Archive, a Gesamtkunstwerk (‘Total work of art’) comprising artworks, posters,
correspondence, photographs, library and ephemera, was transferred from Edinburgh
to the Muzeum Sztuki in Łódź, Poland.
Roddy Martine, was born of Scottish parents in Kuching, Sarawak, where his father
managed a major British trading company on the South East Asian island of Borneo.
It was always the hope of both of his parents that having been brought home to
Scotland, Roddy Martine should acquire a European outlook on life. As a teenager,
he was sent to summer schools in the South of France and Lausanne in Switzerland,
where his mother had been educated at Les Allières in the 1920s at much the same
age. Through his father’s commercial contacts, he was interviewed by the Swiss food
and beverage company Nestlé based in Vevey and told he should re-apply when he
was aged 18. How different his life would have been had he done so.
Other than English, he only became competent in the French language, but
languages have never proved to be a barrier for him. Art overcomes global

communication. It was art that opened up his horizons, encouraging him, when
the opportunities arose, to explore what Belgium, Denmark, Germany, Greece,
Holland, Italy, Norway, Poland, Portugal, Spain and the former Yugoslavia had to
offer, making his life richer and so much more rewarding.
His collaboration with Richard Demarco in this, the third of their Demarco
Trilogy – Demarco’s Edinburgh, Demarco’s Scotland and now Demarco’s Europe
– in celebration of Richard’s remarkable expeditions in the vibrant, ever challenging
world of European art, has added yet another fulfilling dimension to his personal
understanding of his own, all-embracing cultural identity. Thank you Richard.

Demarco’s Europe
RICHARD DEMARCO and RODDY MARTINE

First published 2026
isbn: 978-1-80425-357-1
The authors’ right to be identified as authors of this book under the
Copyright, Designs and Patents Act 1988 has been asserted.
The paper used in this book is recyclable. It is made from totally
chlorine-free pulp produced in a low-energy, low-emission manner
from renewable forests.
Printed and bound by
Robertson Printers, Forfar
Typeset in 11.5 point Sabon by
Main Point Books, Edinburgh
© Richard Demarco and Roddy Martine 2026

In Loving Memory of Anne Carol Demarco
25 December 1934 – 19 January 2026

Contents
Preface
Roddy Martine 11
Introduction
Richard Demarco 13
1 Holy Trinity: ‘A Survey of History’
Frank Ashton-Gwatkin 23
2 Ex Cathedra
Richard Demarco 27
3 A Concept of Europe 38
4 Scots Influencers 45
5 Schotse Huizen 49
6 The Auld Alliance 52
7 Our Eyes Are Not Ours: ‘Demarco and Dada’
Mary James 57
8 Six Days in December 68
9 Strategy: Get Arts 79
10 Biennale – Art Rules 85
11 Iberia: Spain and Portugal 90
7

12 Mother Russia – ‘Peace, Love and Bread’ 93
13 The Balkans 97
14 A Lifetime of Love 103
15 East–West Dialogue 106
16 Muzeum Sztuki 115
17 The Road to Łódź
Charlie Ellis 117
18 Papple Steading 122
19 Gesamtkunstwerk (Total Work of Art)
Terry Ann Newman 124
Postscript: Eagle and Lion
Richard Demarco 129
Select Bibliography 131
Endnotes 135
European Cultural Hot Spots 137
Acknowledgements 143
Index 144
8

Richard Demarco has inspired us to take extraordinary journeys
in the mind, journeys across Europe, journeys that he calls the
Road to Meikle Seggie.
Sir Nicholas Serota, London
The division of Europe into a number of independent states
connected, however, with each other by the general resemblance
of religion, language and manners is productive of the most
beneficial consequences to the liberty of mankind.
Edward Gibbon, The History of the Decline and Fall of the Roman Empire, 1776

Note: Other than contributions attributed to individual authors, chapters
are by Roddy Martine, drawing strongly from archived documents written
by Richard Demarco.

Preface
Across 80 years of close association with the Edinburgh International
Festival, Richard Demarco has brought over 4,000 performance and
visual artists to Scotland’s Capital. He has planned and operated over
five major arts venues and was instrumental in introducing a Scottish
Pavilion to the Venice Biennale in 1990. Seven European Countries have
honoured him with cultural accolades. Seven European universities have
awarded him doctorates.
In 2013, he was summoned to Brussels where Martin Schultz, President
of the European Parliament, awarded him the medal of European Citizen
of the Year. Twelve years later, in 2025, he was the recipient of the
European Movement in Scotland’s Citizen of Europe Award, presented
to him at the Scottish Parliament by Angus Robertson MSP, then Scottish
Minister of Culture.
Throughout his long life, Richard Demarco’s faith has been embodied
within the Holy Trinity. The writing of a third volume of this Demarco
Trilogy is therefore dedicated to the departure of the Edinburgh
International Festival section of Demarco’s unique cultural archive from
Scotland to its 21st-century home at the Muzeum Sztuki in Łódź, Poland,
located between Warsaw and Wrocław. It would appear that Richard
Demarco’s lasting and passionate commitment to his dream of a culturally
stimulated Continental Europe has become reality.
Roddy Martine, Edinburgh, July 2026
11

Introduction
At my advanced age of 96, I am facing the challenge precisely defined
in the words of Bette Davis, the famous Hollywood actress. They are,
‘Old age is not for cissies.’ These are ringing true for me.
However, I must be grateful to the Fates for gifting me a long life.
Actually, I feel that rather than being grateful to the Fates, I should be
grateful to my Guardian Angel, despite the fact that, at my age, I find that
I must depend on the diminishing number of living friends and family
relations who can share my memories of the decades of the 1930s, ’40s,
’50s and ’60s, leading to the five years of World War II and the 40 years
of the Cold War.
All of my memories are related directly to those I associate with the
totality of the eight decades of the Edinburgh International Festival.
Through my childhood memories, I became aware that I was growing up
in an Italian ghetto that was part of a larger Irish Roman Catholic ghetto.
I recognised I was born a Roman Catholic child into an anti-Catholic
Protestant British society. During the war years, and certainly during the
’40s and ’50s, I became clearly aware that I belonged to children with a
mixture of Italian, Irish and Polish family names.
The very name of Portobello, my hometown in the seaside district of
Edinburgh, suggested that Scotland was part of a wider European world.
There is one important youthful memory that remains particularly
fresh. It relates to a particular Sunday in 1943 when I was a 13-year-old
chorister serving Sunday Mass. From the viewpoint of the altar of my
Roman Catholic parish church of St John the Evangelist, I could plainly
see the congregation. I noticed that the congregation was divided into two
distinct parts. There was the congregation dressed as civilians and those
who were in wartime uniform. Of course, the majority of the uniformed
parishioners were wearing the British uniforms of the Army, Navy and
Air Force. However, there was a distinct number of parishioners kneeling
in prayer and wearing the uniform of the Polish Armed Forces.
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Demarco’s Europe
They represented the Polish Free Army soldiers, sailors and airmen who
were being trained in Scotland to fight in Europe after D-Day. The Polish
Armed Forces played an important part in the Allied Forces’ final victory
in Europe. They were distinguished by their courage and, in particular,
the final European battle grounds which produced the Allied victories at
the Battle of Monte Cassino and in the liberation of The Netherlands city
of Breda through the Battle of Falaise Gap. However, the most significant
uniform, for me, was that worn by Italian prisoners of war. They were
wearing their North African Desert Army uniforms. I noted the fact that,
on the backs of their jackets, they were distinguished by a large yellow
circle, emphasising the fact that they were billeted in prisoner of war
camps on the outskirts of Portobello. I can still hear clearly the sound of
the entire congregation in prayer.
This sound was, for me, that of European Christendom and the
language was mainly non-English. It was Latin, the lingua franca of
Europe. It was the Latin language that I learned as a chorister and whilst
serving Mass. I fell in love with the sound, particularly that of what
I knew as medieval plain song.
In 1943, I was in my fifth year in St John’s Primary School when
I was appointed ‘Dux’, after I had been awarded the Religious Knowledge
Prize. This was the result of my interest in the sound of Latin language as
a chorister praying and singing in the lingua franca of Europe.
From my earliest childhood, I have constantly asked myself why my
parents bore distinctly Italian names and how my grandparents managed
to travel from the Mediterranean shorelines as non-English language
speaking Italian Mediterranean peasants.
Were they making a hard living as shepherds? Why are my parents’
family names so obviously non-Scottish? Why were my skin and hair and
eyes a different colour and texture from that of my classmates?
Why indeed did I have the appearance of a foreign child throughout
my schooldays? Why was my father’s Christian name Carmino? Why did
he sing to me in his Italian bel canto tenor voice the Neapolitan peasant
songs he learned from his grandparents?
The Demarco family had settled in Edinburgh’s seaside district of
Portobello after 20 years of living in Paris where they had become famous
as artists’ models, with their physical reality transformed into Greek
mythological god-like creatures.
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introduction
During the Holy Year of 1950 as we travelled by train to Rome, my
father took the trouble to take me to the Place de la Concorde in Paris
to see my Demarco family ancestors transformed into Greek gods. My
great aunts and uncles had become the sculptures of Zeus and Aphrodite,
and the Demarco family name had become Frenchified to no longer be
‘di Marco’ but ‘Demarco’.
During my primary school education, I was known by my Italian
name on my birth certificate. I was Riccardo Demarco. I was known to
my parents and Italian-speaking family members by the nickname ‘Rico’.
1940 was the year that Benito Mussolini aligned himself with the
dictatorship of Adolf Hitler. My father, Carmino Demarco, suggested
that I should anglicise my Italian name. I should be, during the period
of World War II, no longer Riccardo Demarco but Richard Demarco.
Through my paternal Demarco forebears, I bear a Roman name which
translates into the ‘son of Marcus’ and the Demarcos have a long history
going back to the Roman Empire and that mountainous region of Italy
defining the heartland of the Roman Empire, the Apennine world of the
olive grove.
The little town of Picinisco has a war memorial with the names
of families who could trace those Italian families from Picinisco who
managed, with great difficulty and determination, to wend their way
to Edinburgh and the Lothians. Picinisco is located within sight of the
villa of that great Roman poet and politician, Cicero. So the inhabitants
came to be known as ‘the children of Cicero’. So I have the right to call
myself a ‘Ciceroni’.
My maternal family name of Fusco was not altered when they settled
in Northern Ireland in the seaside town of Bangor in County Down. It
was the birthplace of my mother, Elizabeth Valentina Fusco. My Fusco
grandfather, John Fusco, was the son of a Dubliner, Mary Maginnis.
Hence, I have not a drop of Scottish blood coursing through my veins but
that of Irish-Italian, the result of my grandfather, Giovanni Fusco marrying
Maria Bratisani. She was born in a village named Borgotano not far from
the small hill town of Barga in the northern Apennine Mountains close
to the historic walled town of Lucca.
I was to learn that the Italian engineers who built the Renaissance
walled defences of Lucca were those who built the Renaissance walls
of Berwick-upon-Tweed. I was obliged to take most seriously the
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Demarco’s Europe
18th-century barracks as the headquarters of The King’s Own Scottish
Borderers (KOSB), the Scottish Border regiment, because in these barracks
I did my ‘square bashing’.
I have, through my recent studies of my diaries in the ’40s, ’50s and ’60s,
noticed that I was inspired to focus on my European origins as I gradually
regarded myself as a Romano-Celt. The Demarco family were undoubtedly
Roman. They possessed a Roman family name. They originated from the
Roman Empire’s heartland in the small Apennine town of Picinisco, high
above the city of Cassino and within sight of the Motherhouse of the
historically important Benedictine Abbeys now spread throughout the
Christian world. The Battle of Monte Cassino signified the beginning of
the Allied victory in Italy. For myself personally, it expresses the undeniable
truth that Europe signifies even in today’s materialistic world the concept of
Christendom. This European dynamic is an expression of a Greco-Romano,
Judeo-Christian culture. I have found this dynamic clearly expressed in
the poetry of the medieval Scottish poets, Robert Henryson and William
Dunbar and in the music of Robert Carver when, during the Middle Ages,
Scotland’s history was undeniably European.
After St John’s Primary School in Portobello, I was educated at Holy Cross
Academy, Edinburgh’s only Roman Catholic co-educational secondary
school. It was my beloved alma mater and it played an important part
in my secondary school education, particularly during the year 1947
when, to my delight, the Edinburgh International Festival became a
reality against overwhelming odds. Edinburgh was suffering from food
and clothes rationing causing many hotels to be non-operational. To this
day, I regard the Edinburgh International Festival as the greatest gift that
could be associated with any European city. I was well aware of this at
the age of 17, and I am forever grateful to Holy Cross Academy as the
institution that introduced me to the Edinburgh Festival’s international
world and the reality of Europe’s cultural legacy.
This Festival ‘gift’ caused me to be introduced to the orchestral music of
the Vienna Philharmonic Orchestra. After being banned by Hitler in 1933,
it was re-vitalised under the baton of Bruno Walter during the inaugural
Edinburgh International Festival in Edinburgh’s Usher Hall. The orchestra
performed the great music of Europe created by the genius of the likes of
Beethoven, Schubert and Mahler, as well as the music of Hayden, Schumann
16

introduction
and Cesar Frank, followed by recitals by Kathleen Ferrier and Scottish
Lowland Songs with Marie Thomson and John Tainish. The Festival was
largely characterised by post-war reconciliation with European artists and
orchestras performing to packed houses at the Usher Hall.
The highlight for me was the angelic sound of the voice of Kathleen
Ferrier singing German Leider music under the baton of Bruno Walter. I
was transported into Europe. Even the poetic words of the Scottish Border
Ballads seemed to possess their origins in the cultural history of Europe.
I was being introduced to the language of all the arts by the Edinburgh
Festival’s international programme. This programme helped augment my
favourite academic studies at Holy Cross Academy. They were, of course,
drawing and painting at the desk of Eduardo Paolozzi, a former pupil at
the Academy, as well as English Literature under the inspiring teaching of
Hugh Toner, the Academy’s English Master. I was fascinated by History,
Geography and Religious Studies focused on the lives of Saints Columba,
Cuthbert, Giles, Ninian, Benedict and Patrick.
The Edinburgh Festival provided me with the language of all the arts
beyond the world of ‘academe’. I realised that no other city in the UK, or
indeed throughout Europe, could offer such an education. It represented
the international world of the performing and visual arts. This included
the highest level of artists and performers associated with the national and
civic performing arts companies identified with music, ballet and theatre.
This caused the initial programmes of the Edinburgh International Festival
programmes to entwine the world of culture with the world of education.
Of course, I personally benefited. In 1947, I discovered that the language
of all the arts was an essential ingredient to developing my life as a citizen
of Edinburgh as the World Capital of Culture as well as the capital of
Scotland. It was then that I envisioned that Edinburgh, as architecturally
and historically a European Continental city, deserved to be defined as the
ideal city. Based on the Greco-Romano-Christo-Judaic dynamic, Edinburgh
became identified with the Austrian city of Salzburg and its world-renowned
international opera festival and, therefore, with the life of its first director,
Rudolf Bing. He was an Austrian Jew and living in Berlin.
As such, he knew the reality of Nazi Germany’s Holocaust. He, therefore,
moved to Britain and helped to create the opera of Glyndebourne in the
Sussex landscape as an alternative to London’s Covent Garden Opera
House.
17

Demarco’s Europe
Edinburgh City Council’s Education Authority was to be congratulated
in offering free tickets to Edinburgh’s senior school students. I am aware
that Roddy Martine also benefited from this as a student at Edinburgh
Academy in the decade of the 1960s. His career as an historian and
journalist began in Edinburgh during the three weeks of the Edinburgh
Festival. I am indeed most grateful to his preparedness to be the co-author
of this Luath Press publication entitled Demarco’s Europe. Roddy’s family
name ‘Martine’ is distinctly European, honouring as it does the Norman-
French Saint and martyr Martin of Tours.
Saint Martin was much respected by Saint Columba, therefore my
favourite manifestation of European culture in Scotland is the Celtic
cross of Saint Martin on Saint Columba’s Island of Iona. The history
of the Martine family is associated with that of the history of another
Norman-Scottish family, the St Clairs, and therefore my favourite late
medieval architecture of Rosslyn Chapel. I have always associated Rosslyn
Chapel as providing positive proof that Scotland’s architectural history
is wedded to that of Europe.
However, my favourite manifestation of European late medieval history
is in the stones of the Trinity Apse, built in the reign of the Jacobite King
James II and his Flemish wife, Mary of Guelders. This sacred building is
dedicated to the mystery of The Holy Trinity. It once contained my favourite
art work in Scotland, the triptych painted by the European Flemish master,
Hugo van der Goes. Sadly, it no longer exists as a triptych but in only two
paintings within the collection of Scotland’s National Gallery on The Mound.
My favourite part of Highland Scotland is known as the Kingdom
of Dalriada. It is forever in my mind associated with such Scottish clans
as the McEwens and, therefore, that great Scottish avant-gardiste Rory
McEwen who collaborated with Joseph Beuys to create, for me, the
unforgettable highlight of my entire history of the Edinburgh Festival.
Joseph Beuys, who regarded himself as a Germano-Celt, created what
he entitled as the ‘Celtic Kinloch Rannoch: The Scottish Symphony’. It
should be noted that Joseph Beuys was born in Kleves in what is defined
as a Roman Catholic Celtic enclave within the Protestant region of Nord-
Rhein Westphalen.
Scotland’s cultural and historic dialogue has dominated my fortnightly
newsletters over many decades as well as my general thoughts on Scotland’s
18

introduction
annual cultural dialogue with the Edinburgh Festival. This year, I must gift
the Edinburgh International Festival with that part of my art collection
that I have, as an artist, concentrating on certain key artists and art
museums, art galleries and universities. Together, they have expressed
hopes for the future of the Edinburgh Festival.
I believe that I have, as an artist, responded to meaningful and fruitful
dialogues with such artists as Joseph Beuys, Tadeusz Kantor, Mladen
Materic, Marina Abramović, Gabriella Cardazzo, Giuliano Gori, Giuseppe
Panza, Terry Ann Newman, John David Mooney, Margaret Tait, George
Mackay Brown, Patrick Heron, Buckminster Fuller, Ian Hamilton Finlay,
Józef Robakowski, Sonia Rolak, Jacky Lansley, Sally Potter, Henryk
Stażewski and with such European cultural and educational institutions as
the Muzeum Stzuki, the Osselineum Institute in Wrocław, the Shakespeare
Theatre in Gdańsk, the Galleria del Cavallino and the Biennale in Venice,
the Documenta exhibition in Kassel, the National Galleries of Hungary,
Lithuania, Malta, Romania, with Alexander Lutsko at The Sakarov
Institute (University) in Minsk, Giuliano Gori’s La Fattoria di Celle in
Pistoia, Ian and Sue Hamilton Finlay’s Little Sparta, the Ulster Museum
in Belfast, Dublin’s civic Hugh Lane Gallery, and the Italian Parliament
in Rome.
Now that The Richard Demarco Foundation has legally replaced the
Demarco Archive Trust Limited, I must further strengthen my cultural and
educational links with such cultural and educational institutions as the LYC
Museum; Kettle’s Yard; The University of the Highlands and Islands in
Orkney; Leeds Beckett; Rose Bruford College; the universities of Dundee,
Edinburgh and Glasgow; The Special Unit HMP Barlinnie, Glasgow;
Glenalmond College; Summerhall Arts Centre; St Leonard’s School;
Oakham School; Caol Primary School; Marlborough Festival; Aberdeen
Art Gallery; Tate Gallery Archive; The Signet Library, Edinburgh; The
School Partnerships Alliance; The Windows Gallery Perth; The Boardwalk
Arts Centre, Silverknowes in Edinburgh; The Richard Demarco Gallery,
Papple Steading; John Ruskin Museum at Brantwood Cumbria; John
David Mooney Foundation Chicago; and The Royal Scottish Academy
Edinburgh and Edinburgh University’s School of Architecture.
I deeply regret not being elected Rector of St Andrews University. I was
the runner-up to eight rivals chosen by St Andrews University students.
I also failed in my grand plan to restore the ruins of St Andrews Cathedral
19

Demarco’s Europe
so that it became once again Scotland’s equivalent of England’s Westminster
Abbey as a sacred place of coronation.
Thankfully, I was able to identify my Edinburgh Festival programmes
in the late 1980s and 1990s with St Andrews and the Kingdom of Fife.
This I did in collaboration with the headmistresses of St Leonard’s
School, Martha Steedman and Mary James. I presented educational and
cultural contributions to the Edinburgh International Festival involving
Italy’s outstanding avant-garde theatre company known as ‘La Zattera
di Babele’, under the direction of Carlo Quartucci and Carla Tatò. This
was supported by Frank Dunlop, then the Edinburgh Festival’s Director,
with the full support from The Scottish Sculpture Trust. It was filmed by
Channel 4 Television under the direction of Murray and Barbara Grigor.
St Leonard’s School and Dundee Repertory Theatre also played
vitally important supporting roles with the Belarusian National Theatre
production of Shakespeare’s plays – Richard III and Macbeth. And Fife
College in Kirkcaldy was a vitally important support through its director,
Derek Huckle. The cliff-top ruins of Ravenscraig Castle in Kirkcaldy
proved an ideal Edinburgh Festival open-air location for the spirit of
Shakespeare to be made manifest in the language of Belarus, supported
financially by Visiting Arts of the British Council.
Throughout my life, the international reach of the Edinburgh Festival
has been my most powerful motivation, providing me with access to
the most unforgettable individuals and creative forces of my generation,
not to mention those that followed. I have been fortunate enough to
accumulate not only an army of friends and loyal supporters from all over
the world, but an enormous portfolio of paperworks, images, memorabilia
and documentation relating to everything I have touched. And this is
what now comprises the Demarco Archive.
After the initial embrace of the third millennium, the archive was
installed at Johnny Watson’s rural Skateraw Barn under the shadow of
the Torness Nuclear Power Station in East Lothian. By 2009, it was back
in Edinburgh and momentarily relocated at historic Craigcrook Castle on
the slopes of Corstorphine Hill. In 2013, inspired by the entrepreneurial
Robert McDowell, it transferred to the ambitiously renovated Summerhall
events venue on the Meadows of Edinburgh’s southside, previously home
to the Royal Dick Veterinary School.
For a while, the archive’s future in this remarkable complex seemed
20

introduction
secure but with the fallout from the COVID-19 pandemic in 2020, and
an invasive flood in 2024, it became increasingly apparent that to secure
the survival of my legacy, the archive needed to find a more permanent
and enduring home. Several options were explored but it rapidly became
evident that no Scottish organisation was either capable or willing to rise
to the challenge.
I had to face the truth. As with so much in the domestic rollercoaster
catalogue of my life, it was not to be the city of my birth, the font of
my creativity, that came to the archive’s rescue. It was my long-standing
European collaborator, the Muzeum Sztuki, in Łódź. I am forever grateful
to the Muzeum Director Daniel Muzyczuk and his staff.
Sometimes you have to stand at a distance to see the true value of a
great treasure. Edinburgh’s loss is Central Europe’s remarkable gain. We
must always remember that all roads lead to Meikle Seggie.
Professor Richard Demarco CBE,
The Richard Demarco Studio, Milkhall, Howgate, Midlothian
July 2026
21

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