Smith’s business, which built not only lighthouses but roads, bridges and harbours, set an intimidating example of industry and efficiency that Robert Stevenson was happy to match, or outdo. He became a full partner in 1800, the year after his marriage, and the next year went south to see for himself some of the English lighthouses and get ideas for the improvement of the firm’s designs, especially from John Smeaton’s handsome pharos at Eddystone. Stevenson’s additions to Thomas Smith’s work included adding silvered reflectors to the lights, experimenting with different oils and types of burner (he opted for a variant on the new Argand lamps that had glass chimneys above the flame, and which became standard in Victorian domestic interiors). He also tried to get the reflectors to revolve so that the lights seemed to flash (to make the lighthouse beacons easily distinguishable from lights on shore or at sea).
His ingenuity was great, and so was his ambition; in fact Stevenson turned out to be a ruthlessly single-minded man and greedy of fame. In the early years of the new century he became absorbed by the challenge of building a light on the Bell Rock, the notoriously dangerous reef in the North Sea twelve miles southeast of Arbroath, on the northern approach to the Firth of Forth. It was formerly called Inchcape Rock, but was renamed to commemorate the warning-bell which had been put there in the fourteenth century by the safety-conscious Abbot of Arbroath. At high tide the perilous outcrop, 1,400 feet at its widest, was submerged twelve feet, a death-trap to passing ships. Public pressure on the Board to build a lighthouse had met with little success, even after the loss of the warship York with all hands in the gales of 1799. The cost of the lighthouse programme had finally caught up with the Commissioners, and in any case they considered the Bell Rock simply too dangerous and difficult a location to build on. Their objections were music to the ears of young Stevenson, who relished the chance to overcome the obstacles involved; he surveyed the site independently and conducted a long campaign of letters to the Board, making the vaunting claim that his projected Bell Rock lighthouse was ‘a work which cannot be reduced to the common maxims of the arts and which in some measure stands unconnected to any other branch of business’.6
Stevenson’s lobbying seemed to have paid off when a Bill authorising construction of a lighthouse on the Bell Rock was passed in 1806, but it was not his design that the NLB chose, nor him as chief engineer: that honour went to John Rennie. Stevenson’s pride was given an extra knock by his appointment as Rennie’s assistant, but instead of making a loud protest he decided to get his own way by subtler means. Over the years it took to build the lighthouse, during which Stevenson was always on site and Rennie rarely, he took over the project bit by bit, and by the time it was finished, in February 1811, he had not only done almost all the work of the chief engineer but had amassed most of the credit too. God-like, he named various parts of the reef after himself, his father-in-law, the head workmen and – strategically – the Commissioners of the Board, and he encouraged the general perception of the project as entirely his own by publishing an Account of the Bell Rock Lighthouse Including the Details of the Erection and Peculiar Structure of that Edifice, a stirring record of the technical and human difficulties which had been overcome, in which Rennie was scarcely mentioned. The public and the newspapers were fascinated by the story, and delighted with the lighthouse that so thoroughly revolutionised the safety of the lanes into the Firth. Stevenson was suddenly famous and could be seen round Edinburgh proudly sporting the gold medal sent him by the King of Denmark for his services to seafarers.
Rennie, understandably, was piqued by Stevenson’s machinations and considered him dishonest, or at best self-deluding. His assistant engineer had a history of stealing credit, Rennie complained to a friend, and ‘has assumed the merit of applying coloured glass to lighthouses, of which Huddart was the actual inventor, and I have no doubt that he will assume the whole merit of planning and erecting the Bell Rock Lighthouse, if he has not already done so’.7 That was exactly what Stevenson did, and to this day he is credited with the design, which was nothing to do with him. No shadow of guilt or self-doubt troubled the assistant engineer; the carrying-through of a plan was, to him, far more difficult and important than merely generating it. It was an attitude inherited by his son Thomas, who displayed similar confidence in his own viewpoint and who was also accused of professional plagiarism when he ‘stepped in and brought to [ … ] perfection’ (his son’s generous phrase)8 a revolving light designed by the French inventor Leonor Fresnel. This makes it look as if the family ethos was one of raw self-interest, but the case was rather subtler than that. The Stevensons were old-fashioned, and refused to register for patent any of their lighthouse inventions, on the grounds that as government appointees ‘they regarded their original work as something due already to the nation’.9 They made a distinction between what was owed to the Northern Lighthouse Board (service) and what was right for the family business (maximum profit), and willingly gave up exclusive rights in their own inventions in order to be able to cash in on other people’s unexploited ideas. This family trait would work out interestingly in Robert Louis Stevenson, whose flexible attitude to matters of intellectual property led to the most traumatic quarrel of his life, and who remained high-minded about copyright right up to the moment when he wrote a bestseller.
Of all the engineering works that the Stevenson family were involved in, the Bell Rock lighthouse was the most impressive, firing the public imagination with its combination of romantic endeavour and futuristic technology. It already had a celebrator in the Poet Laureate Robert Southey, whose ballad ‘The Inchcape Rock’, published in 1803, commemorated the story of the Abbot and the bell in thrumming lines:
When the rock was hid by the surge’s swell,
The mariners heard the warning bell;
And then they knew the perilous rock,
And blessed the Abbot of Aberbrothok.
Walter Scott also took a keen interest in the Bell Rock, which he visited in 1814. The NLB Commissioners had invited him on a tour of the lighthouses conducted by ‘the celebrated engineer’ (Scott’s phrase) Robert Stevenson. The party went all round the coast, from the Isle of May in the Firth to the Inner Hebrides, calling in at Bell Rock (where Scott wrote some verses in the visitors’ book) and getting out, with difficulty, to survey a jagged reef off Tiree called Skerry Vohr which Stevenson was trying to persuade the Commissioners to build a light on. The novelist was gathering material for his next book, The Pirate, and worked on his notes with an application which impressed Robert Stevenson, who had not at this date read any of Scott’s works. ‘[Scott] was the most industrious occupier of time,’ Stevenson recorded in his journal,
he wrote much upon deck – often when his seat on the camp stool was by no means steady. He sometimes introduced Rob Roy’s exploits in conversation so fully that when I read the Book many parts of it were like a second reading to me.10
The description is oddly prophetic of another industrious writer who composed much upon deck and was able to talk of his fictional creations as if they were real, Robert Stevenson’s grandson. But it was Scott’s work ethic, not his genius, that won Robert Stevenson’s approval; he clearly thought artists in general to be rather a waste of space. Two generations later, Robert Louis Stevenson judged himself by the same rigid family standards, which venerated professionalism, inventiveness, hard work and money-making and thought little of self-expression and art. He came to feel that he was a very inadequate heir to these active men, a mere ‘slinger of ink’, sunk in comparative idleness. When he was writing his Records of a Family of Engineers in the last year of his life, Stevenson burst out in a letter to his friend Will Low, ‘I ought to have been able to build lighthouses and write David Balfours too.’11 A poem Stevenson wrote in the 1880s (when, incidentally, he was living in a house named after his uncle’s most famous lighthouse and surrounded by lighthouse memorabilia) expresses the same feeling of having failed his inheritance:
Say not of me that weakly I declin
ed
The labours of my sires, and fled the sea,
The towers we founded and the lamps we lit,
To play at home with paper like a child.
But rather say: In the afternoon of time
A strenuous family dusted from its hands
The sand of granite, and beholding far
Along the sounding coast its pyramids
And tall memorials catch the dying sun,
Smiled well content, and to this childish task
“Around the fire addressed its evening hours,12
How neatly the change in typeface separates what the poet would like to have said about himself from what he thinks will be said. And how much more striking than his engrossed images of the strenuous family and their colossal achievements is his bitter description of himself left ‘playing at home with paper like a child’.
The paternal line dominates Robert Louis Stevenson’s family history, for ‘the celebrated engineer’ made it one of the most respectable names in Edinburgh at the beginning of the nineteenth century. Robert and his sister-wife Jean had thirteen children, only five of whom survived infancy: one girl (Jane) and four sons, three of whom followed their father into the family business, with greater or lesser enthusiasm, and the youngest of whom, Thomas, became the father of our subject.* They lived in the large house that Thomas Smith had built in 1803 in Baxter Place, fronting onto busy Leith Street, with a long garden at the back running to the bottom of the Calton Hill. The Stevenson children played in the cellars or the orchard, and hung around their father’s office or the specially-built workshops, where there was always ‘a coming and going of odd, out-of-the-way characters, skippers, lightkeepers, masons, and foremen of all sorts’.13 Though the Stevensons were not known for keeping a lavish table (Jean Stevenson, a strict Calvinist, made a habit of choosing both her butcher and her cook on religious grounds), the house was always open to employees of the Northern Lighthouse Board. Robert Stevenson was a paternalistic boss, minutely concerned with all aspects of the men’s lives: their wives’ confinements, their children’s schooling, the welfare of the sick and the conduct of prayers. ‘My grandfather was much of a martinet,’ Stevenson reported,
with his powerful voice, sanguine countenance, and eccentric and original locutions, he was well qualified to inspire a salutory terror in the service [ … ] In that service he was king to his finger-tips. All should go his way, from the principal lightkeeper’s coat to the assistant’s fender, from the gravel in the garden walks to the bad smell in the kitchen, or the oil-spots on the storeroom floor.14
Oddly enough, with this Jove for a father, young Thomas Stevenson managed for years to evade discovery that he was doing very little schoolwork. Being the youngest of many children, seventeen years his sister Jane’s junior, perhaps he just adopted the tactic of keeping his head down at home. He wasn’t a stupid boy (although he never mastered mathematics, which was a considerable handicap in his professional life), but early on developed a strong aversion to book-learning. This amounted to an obsession in later life, when he would stop schoolboys on the street and advise them to learn only what seemed to them good. ‘There seems to have been nothing more rooted in him than his contempt for all the ends, processes, and ministers of education,’ his son was to claim; ‘he bravely encouraged me to neglect my lessons, and never so much as asked me my place in school. What a boy should learn in school he used to say is “to sit on his bum”. It could scarcely be better put.’15
Thomas’s hatred and fear of school were due to the teachers’ constant use of the cane, and he was to say that the sufferings he endured there were worse than any he experienced in later life. His survival strategy was based on maintaining a low profile, as this spirited incident, related by his son, shows:
He never seems to have worked for any class that he attended; and in Piper’s took a place about half-way between the first and last of a hundred and eighty boys. Yet his friends were among the duxes. He tells most admirably how he once on a chance question got to the top of the class among all his friends; and how they kept him there for several days by liberal prompting and other obvious devices, until at last he himself wearied of the fierce light that beat upon the upper benches. ‘It won’t do,’ he said. ‘Goodbye.’16
Thomas, like his son, was a dreamy, quirky child with a strong vein of the perverse: ‘there was always a remarkable inconsequence, an unconscious spice of the true Satanic, rebel nature, in the boy. Whatever he played with was the reverse of what he was formally supposed to be engaged in learning. As soon as he went, for instance, to a class of chemistry, there were no more experiments made by him. The thing then ceased to be a pleasure, and became an irking drudgery.’17 It was not the temperament to mould easily to Robert Stevenson’s expectations. Thomas worked for a short time in a printing office and toyed with the idea of becoming a bookseller or publisher – a practical slant to his deeper ambition, which was to be a writer. But his father was furious at this notion and before he was out of his teens Thomas had succumbed to the family fate of engineering, joining his two older brothers.
Alan, the eldest of the boys, had also needed some coercion to become an engineer. He was the scholar and polymath of the family, and wanted to study Classics and enter the Church. He turned out to be an outstanding engineer, making important improvements in optics and designing and building several lights, including the family’s most beautiful lighthouse, Skerry Vohr, on that dismal Atlantic reef surveyed by his father and Scott in 1814. Skerry Vohr proved a challenge as great as Bell Rock, though Alan was not the man to brag about it. He took over when his father retired from the post of chief engineer in 1842, but found the burden of work intolerable and in 1852, when he was forty-five, suffered a ‘sudden shattering of his nervous system’ which forced him ‘to withdraw absolutely from his profession and the world’. The few remarks about this collapse in an anonymous but highly sympathetic obituary notice indicate a family tragedy of large proportions:
What a trial this must have been to one of his keen, intrepid temper, his high enthusiasm, and his delight in the full exercise of his powers, no one but himself and those who never left him for these long dreary years can ever tell – when his mind, his will, his affections survived, as it were, the organ through which they were wont to act – like one whose harp is all unstrung, and who has the misery to know it can do his bidding no more.18
The collapse happened when Alan had been married only six years and had four tiny children, two of whom, Katharine and the brilliant, mercurial Bob, were to be Robert Louis Stevenson’s close friends in adult life. All through their childhoods their father was a nervous invalid, who beguiled his ‘great sufferings’ by reading, learning languages, committing Homer to memory, and making a verse translation of the hymns of Synesius. ‘During many an hour the employment helped to soothe my pain,’ Alan wrote pathetically in the prologue to his privately printed translation. It was a startling example of how violently a sensitive nature could be shipwrecked by mental breakdown.
Thomas Stevenson was not as brilliant as his brother Alan, nor as versatile as his brother David, with whom he ended up running the family business. With his robust, serious, four-square face and figure, he looked every inch the Victorian paterfamilias, but there was instability at the centre of his character too: volatile, charming and puzzling, a straight-faced joker, he must have been a difficult man to have as father. In his obituary tribute, remarkable for its air of objectivity, his son characterised him as ‘a man of a somewhat antique strain’:
with a blended sternness and softness that was wholly Scottish and at first somewhat bewildering; with a profound essential melancholy of disposition and (what often accompanies it) the most humorous geniality in company; shrewd and childish; passionately attached, passionately prejudiced; a man of many extremes, many faults of temper, and no very stable foothold for himself among life’s troubles.19
Thomas was a staunch Tory and devout churchgoer, with a strong belief
in ultimate salvation – not through any merits of his own, but through God’s infinite mercy. There was not a shred of complacency in his view of himself. In the speech he wrote to be read at his own funeral, he expressed the hope that he would not be ‘disowned by Him when the last trumpet shall sound’, a characteristically negative construction, and among the Bible verses to be read he chose ‘Who can bring a clean thing out of an unclean? Not one.’20 Over a lifetime’s constant service to the Kirk, he never accepted any sort of lay office, on grounds of a seemingly inexpungeable ‘unworthiness’.
Melancholic by nature, Thomas Stevenson’s awareness of his own sins seems morbid; like his son’s creation Dr Henry Jekyll, he had perhaps an over-fine conscience about his shortcomings, shown in the story as a mark of extreme moral vanity: ‘many a man would have even blazoned such irregularities as I was guilty of’.21 Sex seems to have been the focus of Thomas’s neuroses, as he held views so strong about the protection of women as to amount to a blanket condemnation of men. He believed, for instance, that any woman who wanted a divorce should be granted one automatically, whereas no man should ever have one. He also, intriguingly, set up a Magdalen Mission in Edinburgh for ‘fallen women’, which he supported financially all his adult life. Was this a gesture of general philanthropy or some private effort at atonement for real or imagined crimes against women – his own, or those of his sex in general? Thomas’s interpretation of chivalry did not lie anywhere on the usual axis between protectiveness towards women and the will to dominate them, but had a neurotic, slightly masochistic edge. It was taken on almost wholesale by his son.
Robert Louis Stevenson Page 2
