Editing Scottish Enlightenment (section)

==Significance==
Representative of the far-reaching impact of the Scottish Enlightenment was the new ''[[Encyclopædia Britannica]]'', which was designed in Edinburgh by [[Colin Macfarquhar]], [[Andrew Bell (engraver)|Andrew Bell]] and others. It was first published in three volumes between 1768 and 1771, with 2,659 pages and 160 engravings, and quickly became a standard reference work in the English-speaking world. The fourth edition (1810) ran to 16,000 pages in 20 volumes. The ''Encyclopaedia'' continued to be published in Edinburgh until 1898, when it was sold to an American publisher.<ref>{{cite book|author=Ian Brown|title=The Edinburgh History of Scottish Literature: Enlightenment, Britain and Empire (1707–1918)|url=https://books.google.com/books?id=BasUT5FyhM8C&pg=PA199|year=2007|publisher=Edinburgh U.P.|pages=199–200|isbn=9780748624812}}</ref>

===Cultural influence===
The Scottish Enlightenment had numerous dimensions, influencing the culture of the nation in several areas including architecture, art and music.<ref>June C. Ottenberg, "Musical Currents of the Scottish Enlightenment," ''International Review of the Aesthetics and Sociology of Music'' Vol. 9, No. 1 (June 1978), pp. 99–109 [https://www.jstor.org/pss/836530 in JSTOR]</ref>

Scotland produced some of the most significant architects of the period who were involved in the intellectual culture of the Enlightenment. [[Robert Adam]] (1728–92) was an interior designer as well as an architect, with his brothers developing the [[Adam style]],<ref>''Adam Silver'' (HMSO/Victoria & Albert Museum, London, 1953), p. 1.</ref> He influenced the development of architecture in Britain, Western Europe, [[Architecture of the United States|North America]] and in Russia.<ref>N. Pevsner, ''An Outline of European Architecture'' (Harmondsworth: Penguin Books, 2nd ed., 1951), p. 237.</ref><ref name=GlendinningMacInnes&MacKechniep106>M. Glendinning, R. MacInnes and A. MacKechnie, ''A History of Scottish Architecture: from the Renaissance to the Present Day'' (Edinburgh: Edinburgh University Press, 2002), {{ISBN|978-0-7486-0849-2}}, p. 106.</ref> Adam's main rival was [[William Chambers (architect)|William Chambers]], another Scot, but born in Sweden.<ref>J. Harris and M. Snodin, ''Sir William Chambers Architect to George III'' (New Haven, CT: Yale University Press, 1996), {{ISBN|0-300-06940-5}}, p. 11.</ref> Chambers was appointed architectural tutor to the Prince of Wales, later [[George III]], and in 1766, with Robert Adam, as Architect to the King.<ref>D. Watkin, ''The Architect King: George III and the Culture of the Enlightenment'' (Royal Collection Publications, 2004), p. 15.</ref><ref>P. Rogers, ''The Eighteenth Century'' (London: Taylor and Francis, 1978), {{ISBN|0-416-56190-X}}, p. 217.</ref>

Artists included [[John Alexander (painter)|John Alexander]] and his younger contemporary [[William Mossman]] (1700–71). They painted many of the figures of early-Enlightenment Edinburgh.<ref name=MacDonald2000p56>M. MacDonald, ''Scottish Art'' (London: Thames and Hudson, 2000), {{ISBN|0500203334}}, p. 56.</ref> The leading Scottish artist of the late eighteenth century, Allan Ramsay, studied in Sweden, London and Italy before basing himself in Edinburgh, where he established himself as a leading portrait painter to the Scottish nobility and he undertook portraits of many of the major figures of the Scottish Enlightenment, including his friend the philosopher David Hume and the visiting [[Jean-Jacques Rousseau]].<ref>[http://www.britannica.com/EBchecked/topic/490799/Allan-Ramsay "Allan Ramsey"], ''Encyclopædia Britannica'', retrieved 7 May 2012.</ref> [[Gavin Hamilton (artist)|Gavin Hamilton]] (1723–98) spent almost his entire career in Italy and emerged as a pioneering neo-classical painter of historical and mythical themes, including his depictions of scenes from Homer's ''[[Iliad]]'', as well as acting as an informal tutor to British artists and as an early archaeologist and antiquarian.<ref>[http://www.britannica.com/EBchecked/topic/253404/Gavin-Hamilton "Gavin Hamilton"], ''Encyclopædia Britannica'', retrieved 7 May 2012.</ref> Many of his works can be seen as Enlightenment speculations about the origins of society and politics, including the ''Death of Lucretia'' (1768), an event thought to be critical to the birth of the [[Roman Republic]]. His classicism would be a major influence on French artist [[Jacques-Louis David]] (1748–1825).<ref name=MacDonald2000pp63-5>M. MacDonald, ''Scottish Art'' (London: Thames and Hudson, 2000), {{ISBN|0500203334}}, pp. 63–65.</ref>

The growth of a musical culture in the capital was marked by the incorporation of the Musical Society of Edinburgh in 1728.<ref>E. G. Breslaw, ''Doctor Alexander Hamilton and Provincial America'' (Louisiana State University Press, 2008), {{ISBN|0807132780}}, p. 41.</ref> Scottish composers known to be active in this period include: Alexander Munro (fl. c. 1732), James Foulis (1710–73) and Charles McLean (fl. c. 1737).<ref name="Baxter2001app140-1">J. R. Baxter, "Culture, Enlightenment (1660–1843): music", in M. Lynch, ed., ''The Oxford Companion to Scottish History'' (Oxford: Oxford University Press, 2001), {{ISBN|0-19-211696-7}}, pp. 140–41.</ref> [[Thomas Erskine, 6th Earl of Kellie]] (1732–81) was one of the most important British composers of his era, and the first Scot known to have produced a [[symphony]].<ref name=Wilson2004p33>N. Wilson, ''Edinburgh'' (Lonely Planet, 3rd ed., 2004), {{ISBN|1740593820}}, p. 33.</ref> In the mid-eighteenth century, a group of Scottish composers began to respond to Allan Ramsey's call to "own and refine" their own musical tradition, creating what James Johnson has characterised as the "Scots drawing room style", taking primarily Lowland Scottish tunes and adding simple figured basslines and other features from Italian music that made them acceptable to a middle-class audience. It gained momentum when major Scottish composers like [[James Oswald (composer)|James Oswald]] (1710–69) and [[William McGibbon]] (1690–1756) became involved around 1740. Oswald's ''Curious Collection of Scottish Songs'' (1740) was one of the first to include Gaelic tunes alongside Lowland ones, setting a fashion common by the middle of the century and helping to create a unified Scottish musical identity. However, with changing fashions there was a decline in the publication of collections of specifically Scottish collections of tunes, in favour of their incorporation into British collections.<ref>M. Gelbart, ''The Invention of "Folk Music" and "Art Music"'' (Cambridge: Cambridge University Press), {{ISBN|1139466089}}, p. 30.</ref>

===Wider impact===

While the Scottish Enlightenment is traditionally considered to have concluded toward the end of the 18th century,<ref name="Magnusson"/> disproportionately large Scottish contributions to British science and letters continued for another 50 years or more, thanks to such figures as [[Thomas Carlyle]], [[James Watt]], [[William Murdoch]], [[James Clerk Maxwell]], [[Lord Kelvin]] and [[Sir Walter Scott]].<ref>E. Wills, ''Scottish Firsts: a Celebration of Innovation and Achievement'' (Edinburgh: Mainstream, 2002), {{ISBN|1-84018-611-9}}.</ref> The influence of the movement spread beyond Scotland across the British Empire, and onto the Continent. The political ideas had an important impact on the [[Founding Fathers of the United States]], which broke away from the empire in 1775.<ref>Daniel Walker Howe. "Why the Scottish Enlightenment Was Useful to the Framers of the American Constitution". ''Comparative Studies in Society and History''. Vol. 31, No. 3 (July 1989), pp. 572–87 [https://www.jstor.org/pss/178771 in JSTOR]</ref><ref>Robert W. Galvin. ''America's Founding Secret: What the Scottish Enlightenment Taught Our Founding Fathers'' (Rowman & Littlefield, 2002).</ref><ref>Michael Fry. ''How the Scots Made America'', (Thomas Dunne Books, 2004).</ref> The philosophy of [[Common Sense Realism]] was especially influential in 19th century American thought and religion.<ref>Sydney E. Ahlstrom, "The Scottish Philosophy and American Theology," ''Church History'', Vol. 24, No. 3 (Sept. 1955), pp. 257–72 [https://www.jstor.org/stable/3162115 in JSTOR]</ref>

In traditional historiography, the Scottish Enlightenment was long identified with [[abolitionism]] due to the writings of some of its members and the rarity of enslaved people in Scotland. However, academic John Stewart argues that due to the fact that many members of the Scottish Enlightenment were involved in supporting [[slavery]] and [[scientific racism]] (a consequence, he argues, of Scotland's disproportionate involvement in the [[Atlantic slave trade]]), "the development of eighteenth-century [[chemistry]] and the broader intellectual [Scottish] Enlightenment were inextricably entangled with the economic Improvement Movement and the colonial economy of the British slave trade."<ref> {{Cite journal |last=Stewart |first=John |date=2020 |title=Chemistry and slavery in the Scottish Enlightenment |journal=Annals of Science |volume=77 |issue=2 |pages=155–168 |doi=10.1080/00033790.2020.1738747 |pmid=32419638}} </ref>

===Cultural representations===
The Scottish dramatist [[Robert McLellan]] (1907-1985) wrote a number of full-length stage comedies which give a self-conscious representation of Edinburgh at the height of the Scottish enlightenment, most notably ''[[The Flouers o Edinburgh]]'' (1957). These plays include references to many of the figures historically associated with the movement and satirise various social tensions, particularly in the field of spoken language, between traditional society and [[anglicised]] Scots who presented themselves as exponents of so-called 'new manners'. Other later examples include ''[[Young Auchinleck]]'' (1962), a stage portrait of the young [[James Boswell]], and ''[[The Hypocrite]]'' (1967) which draws attention to conservative religious reaction in the country that threatened to check enlightenment trends. McLellan's picture of these tensions in [[nation]]al terms is complex, even-handed and multi-faceted.<ref>Colin Donati (ed.), ''Robert McLellan: Playing Scotland's Story, Collected Dramatic Works'' (Edinburgh, Luath Press, 2013), {{ISBN|9781906817534}}. See also the various essays included in the volume.</ref>