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Changes in the agriculture of Kincardineshire between c.1750 c.1880 were fundamental and produced great variety in the rural landscape. A few famous Improvers introduced new crops and agricultural techniques in the 1750s and 1760s, but general adoption was not possible until the late eighteenth and early nineteenth centuries, when a more highly developed transport and marketing system allowed smaller landowners and tenant-farmers to accumulate capital. Several important introductions of crops, crop rotations and types of livestock did not take place until the early nineteenth century. Following a brief lull during the post-Napoleonic War economic depression, rapid development began again in the in the 1820s and 1830s, culminating in a boom period after the coming of the railway in 1850, involving cattle fattening, artificial fertilizers and draining. Many of the early changes in landscapes were mainly restricted to the environmentally favoured south of the country. It was here that wasteland reclamation was taking place towards the end of the eighteenth century, so that by the early nineteenth century the arable area had reached its greatest extent. At the same time the impermanent pre-improvement farm buildings began to be adapted and extended, and were eventually replaced by durable stone steadings. Only in enclosure did the south lag behind the north of the country. Re-formation of the landscape in the north, particularly in western Deeside, did not advance rapidly until the second phase of activity beginning in the 1820s and 1830s. Most of the dry-stone wall building occurred in the half century to 1880, as did the development of the farm steadings. The arable area expanded very rapidly during the nineteenth century. Changes in agriculture and landscapes in Kincardineshire c.1750 to c.1880 exhibit both revolutionary and evolutionary characteristics.

This thesis examines the hitherto somewhat neglected subject of patronage of the arts in Scotland during the twentieth century. The introduction briefly discusses existing scholarly works dealing with this subject, pointing out that the role of Scottish myths in influencing Scottish culture merits careful and detailed attention. Chapter One looks at how Scottish artistic myths in twentieth century Scottish culture can be traced back as far as the eighteenth century. The nature and evolution of these myths are examined to show why they have had a direct impact in the creation of a distorted view of what exactly constitutes Scottish culture in the twentieth century. Chapter Two explores the changing social structure of Scottish society after the First World War and how this was reflected in a search for a sense of stability and nostalgia for a pre-war era. The activities of the Scottish Modern Arts Association are assessed within this ideological framework. The chapter also highlights the influence of the Post-Impressionist Exhibition in 1910 on Scottish patronage. Economic and political trends are examined in this context as bearing directly on trends of patronage. Chapter Three examines the contention that the public equation of contemporary art with communism and nationalistic tendencies coloured the acceptance of modern art in the interwar years. Changes of taste during the inter-war period can be seen in a number of representative sales held at Dowell's Auction Rooms, Edinburgh. This chapter also analyses the collection and philanthropic intentions of a Perthshire businessman, Robert Borough, as continuing a pre-war aesthetic in the 1920's. Similarly the activities of the Scottish Modern Arts Association in the 1920's and 1930's are analysed in this light. Patronage of the arts in England during this period is examined briefly in order to provide a comparison with what was going on in Scotland at this time. This chapter also analyses the influence of the Society of Scottish Artists Exhibitions of 1931 and 1934. Chapter Four explores the cultural impact of the artists connected with the Scottish Renaissance Movement in the 1920's and 1930's. The patronage of an emigre American businessman James Whyte is examined within an analysis of the public reception of his political activities.

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