20th November 1897 Kiln for Glenalbyn Distillery

 

Following several planning applications concerning the Manager's Glen Albyn house, the next set of submitted plans moves us into 1897 and shifts our attention to the inner workings of the distillery itself.

In the wake of new investments made in 1895, the focus is on increasing production and enhancing the distillery's reputation among the industry. This ambition may be fuelled by a potential share flotation, driving the desire for success from its current owners.

Historically, Glen Albyn faced significant challenges after the devastating fire of 1849, which left the production area of the distillery in ruins. Although it resumed operations in late 1851, highlighted by the tragic deaths of two workers, it struggled to maintain viability. This led to the sale of its equipment, as reported by the Inverness Advertiser and Ross-shire Chronicle on Tuesday, September 15, 1857.

This report clearly states that the kiln is part of the sale and verifies its measurements as 360 8-10 by 386 8-10 inches, covering an area of 60 81-100 inches. This raises the question of whether it was never sold, or if Glen Albyn had a different temporary arrangement before making this 1897 request to the Dean Guild of Inverness? 

Looking back at the 1884 plans we evaluated earlier that mark the resurrection of Glen Albyn, a section labelled 'new kiln' appears in the upper left corner of the site. This suggests that, following the fire and subsequent sale in 1857, there was no kiln remaining. During this era, a kiln was essential for any distillery, and it’s surprising to realise that this 1884 addition would only last a little over ten years before being replaced, as indicated in today's plans.

It's important to note that during this period, several pieces of equipment at Glen Albyn were considered excess, likely due to upgrades and investments. Additionally, the expertise of William Grant, famous for Glenfiddich, was not only sought after but also honoured through this gift from 1885 from the Glen Albyn staff. Historical records indicate that stills from Glen Albyn were relocated to Speyside to assist in the establishment of William's latest distillery at Balvenie in 1892. This raises the question: could other equipment have embarked on a similar journey?

Back to our kiln for now, and the reason for such a new piece of kit being replaced is substantiated by the plans preserved at the Highland Archive Centre in Inverness, for which I express my gratitude once more for granting me access. A new distillery trend is captivating the country in the 1890s, significantly enhancing the craft of kiln operation and changing the landscape in more ways than one.

This set of plans are visually impressive, showcasing the iconic pagoda (also referred to as a cupola) that has become a symbol of Scottish distilleries. First introduced at the Dailuaine distillery in 1889, it was designed by Charles C. Doig, who later designed the Glen Mhor distillery in the early 1890s and supervised its construction.

Unfortunately, Charles was not the one to create these plans; that task fell to the local firm Ross & MacBeth, who had already collaborated with Glen Albyn on their new warehouse in 1892. I have previously mentioned this firm in my research on Glen Mhor, as they also undertook various projects nearby. Generally speaking, they appear to be the preferred choice for distilleries in the region.

Showing these plans to Alan Winchester, he commented:

‘Yes, it does appear that the Doig ventilator was soon copied by other architects i.e. like Strathisla was a different architect when the kilns were changed to the Doig ventilator style.’

The transition to a pagoda was likely influenced by observing the operations at Glen Mhor and the buzz circulating within the industry. The existing kiln at Glen Albyn was soon to be outdated, regardless of the current setup. To accommodate Glen Albyn's expanding aspirations and production needs, adopting a pagoda became necessary at considerable cost.

I can't help but ponder Charles C. Doig's perspective on this development. After all, he had introduced the concept of the pagoda, and it must have been quite a sight for him to witness another one emerging nearby and across Scotland, seemingly without any acknowledgment or business stemming from his original idea.

We will explore these plans in a detailed, step-by-step manner, sharing my insights along the way. To start, let's take a look at the perspective from the quayside and Muirtown Basin in this fabulous drawing...

One striking aspect is the influence the pagoda would exert on the skyline of both the distillery and Muirtown. We previously mentioned this during our conversation about Glen Albyn House, where I shared my understanding of the Dean Guild's awareness of the significant transformations taking place in the Muirtown area, blending residential spaces with industrial sites.

This illustration also provides a glimpse of how the distillery would appear from the perspective of a boat passing by, showcasing how it integrates with the surrounding distillery structures. 

It appears that the image above takes some creative liberties, or perhaps we are intended to view the pagoda from the perspective of the mainland, gazing over the distillery site towards the quayside in the background. To explore this further, let’s examine a 1928 aerial photograph sourced from Canmore, which I have enhanced using artificial intelligence.

It is evident that we currently have a double pagoda, located at the end of the production buildings, accompanied by a couple of smaller outbuildings that have been added, perhaps when the pagoda was doubled. It seems illogical that you would demolish a relatively new pagoda dating back to 1898, merely to construct two additional ones on the same site.

Originally, the pagoda was positioned in the most advantageous location to facilitate production, and this would remain unchanged according to the plans we have reviewed thus far. Therefore, I support the theory that the drawing perspective is oriented towards the quayside, which perhaps shows the Guild's awareness of the impact on the Basin and Muirtown to any new structure.

Moving onto the internals, we have a couple of angles and I've selected this one in particular:

In this view, you can admire the straightforward design of a Pagoda skeleton and its remarkable efficiency. The kiln floor aligns closely with what was once the second floor of Glen Albyn. By examining the details of the 'old floor,' we can infer that it corresponds to the structure depicted in the earlier drawing and aerial image. These floors may have been used for malting, however noting the building diagram, and upper door possibly for grain or peat access, this is open to debate.

What’s particularly thrilling about this sketch is that it provides us with a map of the site from 1897, indicating the proposed location of the Pagoda. This discovery is remarkable, yet I find myself grappling with how to place it. This map highlights the significant transformation of the Glen Albyn site over the years. The distillery and its storage facilities underwent a continuous evolution, occupying a prime location along the banks of the Muirtown Basin.

Either the diagram is inaccurate, or we need to re-evaluate the original positioning of the brewery and the Glen Albyn site. From the original plans of the Caledonian Canal, which fortuitously included the original Glen Albyn that operated for less than ten years and dates back to 1840-1844, we know that the distillery was situated just before the bend on the quayside. I have no reason to question the expertise of the engineers behind this renowned project.

Additionally, the map reveals a warehouse positioned along the quayside, approximately where the 'house' appears in the 1897 illustration. There is also a reference to a notable landmark, Kirk Matheson's Stores, located just behind this structure. Based on drawings from 1852, I believe we can conclude that this quayside building was either destroyed in the fire of 1849, or removed shortly afterwards.

The detailed drawings from 1852 do not indicate a building directly on the quayside. While I cannot reproduce the 1840s drawings due to a prior agreement, I can analyse them based on my available materials. This earlier plan illustrates the bridge and road leading into Inverness, with the Caledonian Inn situated on the distillery side of what would later become Telford Road, alongside a business (Chandler's Shop & Bakery) where Kirk Matheson's Stores is now potentially located.

In summary, based on what we currently know - which may change - I would be cautious about the layout presented here unless it corresponds to a proposed design that was later rejected by the Dean Guild. The Inn, which was connected to the distillery by the infamous pipe, was operational and is visible in the 1928 photograph. The scale seems off, and I cannot envision a pagoda being constructed at the corner of Telford Street, directly across from the bridge.

Upon deeper consideration, another possibility arises: the road depicted in the drawing may not be Telford Street, but rather a now-forgotten road that isn't represented in our existing materials. This seems unlikely, particularly after reviewing the canal plans from the 1840s, which indicate only a timber yard situated between Glen Albyn and the house at the corner of Telford Street. There is no other road present, with the only one marked being what we now know as Telford Street, labelled 'to Inverness' by the canal planners.

Nonetheless, it's beneficial to remain open to different interpretations. The drawing at least provides us with a glimpse of the layout of Glen Albyn as envisioned in 1897, even if its location appears to be inaccurate. 

The remaining layout diagrams offer more clues about the nearby buildings themselves:

These diagrams provide perspective on the dimensions of the lower levels, which measure roughly 35 feet in both length and width.

It seems logical to suggest that this is the kiln site located at Glen Albyn before these recent enhancements, indicating it is not a new location, which aligns well with the adjacent peat store. Additionally, there is an indication that the kiln may be integrated with an existing structure that is obscured behind the pagoda in the external drawing facing the quayside, this may have been converted into pagoda #2 at a later date.

While it is unfortunate that we lack further details about these connecting structures, we now have more information regarding the kiln and its dimensions.

The pagoda is an iconic symbol of any distillery, and Glen Albyn was to two pagoda's for most of its lifespan - these had vanished by the mid 1980s. So, there's much mystery to uncover regarding this original structure, when it was increased and when it was removed - all part of the joy of research.

My thanks to the Highland Archive Centre in Inverness for making these materials available for my research. Their generosity ensures that the wider whisky population can enjoy these resources. Images have been watermarked as agreed.