Davaar island’s historic cave painting
‘Outrage replaced awe and approval.’ Mr Togneri told of a letter from Proteus (he must have been an educated man) writing to the Courier. He wrote a lengthy denunciation notable for its viciousness. The letter said that the face was that of a ruffian and vulgarity is writ large in every tone. The writer added he cannot paint higher than his own level and Mr MacKinnon’s level is a pretty low one. Mr Togneri added that MacKinnon’s career had been going well in 1887 and said: ‘As he ruefully confessed to the Argyllshire leader in 1934, the cave picture finished all that.’ MacKinnon bolted to Liverpool where a friend found him a job with Cammell Laird, the shipyard. He worked there until he moved to Nantwich. MacKinnon returned to Davaar 11 years after leaving, in September 1898, completely repainting a more conventional image and adding a little angel, with feathered wings, at the side. Mr Togneri said: ‘I think the harsh criticism he had received had preyed on him leading to the revision.’ MacKinnon made a postcard of the painting, adding gulls and a puffin to make it quite clear that it was a painting in a sea cave. Later postcards were produced by Valentines. MacKinnon’s final return was in 1934 accompanied by his daughter Dorothy, who also returned one last time in 1966 to look at her father’s work.
Supporters
His 1934 visit was covered by radio, cinema newsreels and reporters. He was met at the pier by the council and crowds of supporters. Mr Togneri said: ‘This painting was rededicated by the moderator of the Kintyre presbytery and the Roman Catholic priest standing side by side, a rare ecumenical event for Kintyre. ‘Angus MacVicar was then working for The Campbeltown Courier and he asked MacKinnon if he had made a good living as an artist. ‘He said: “I was only an artist when the mood was on me and that mood didn’t come very often. I made my bread and butter as an art teacher.” ‘He was later to hit the jackpot, posthumously, with a painting of the first point-topoint at Nantwich which sold at an auction for £250,000 to the racing fraternity. ‘MacKinnon passed away on his birthday in 1935.’ The crucifixion scene has been in a constant state of decay and within 20 years there was a drastic deterioration in the cave painting. Water percolating round from all the soil and the rock above was running down the wall constantly, the paint became friable and the town council appointed John McAnally to restore and repaint the image. Mr Togneri added: ‘He was my art teacher at the Grammar School and I have to thank him for getting me into Glasgow School of Art. ‘John was a devout Catholic and he saw this work as a labour of love and a privilege. ‘He used MacKinnon’s figure and kept the pose with much stronger better proportion.’ The painting did not fare any better and further erosion led to John MacKinnon Crawford, who had succeeded McAnally as art teacher, being asked to carry out further restoration in 1963. Mr Togneri said: ‘John, being John charged a fee, he said that professional integrity demanded it and pride said that he paint his version. ‘John Crawford was a brilliant draughtsman and a very fine painter. It was a homage to late renaissance painting. ‘Colour very subtle and the paint handling really a bravura performance. John used the newly developed acrylic paints to make sure it would last. ‘This was the finest of all the cave paintings.’
Restoration
By the mid-1970s the community council had taken up the reins of restoration. Under the leadership of David Gardener, a lead gutter was installed above the painting and this stopped the water penetration. Mr Togneri said: ‘I worked from scaffolding put up by the community council. For continuity, I painted in the style of John. ‘When I removed the peeling paint there was nothing to be seen of the previous work. ‘With the confidence and egotism of youth I did my
own thing, instead of the upturned gaze I painted Christ as a man, and a man of our own time in 1978. ‘The painting remained untouched, until July 2006, when disaster struck. ‘An anonymous vandal used stencils with car spray paint to paint in red and black images of the Che Guevara poster across most of the painting. ‘How did I get it off? ‘It was still wet when I saw it. I used solvents but that took most of the paint off. ‘The Turners from Killdalloig gave me £100 worth of acrylics. ‘I tried to correct some of the previous drawing and restored the little angel which seemed to have disappeared. ‘I changed the loincloth in tribute to my hero Diego Velázquez.’ ‘If restoration of the cave painting were ever necessary again, I am inclined to think that it shouldn’t be of the current painting, my last version, Christ number eight. ‘I think it should be of the first one. In 1978 I had no knowledge of the first painting I had never seen the image. ‘If it were recreated I think people would be able to appreciate what all the fuss was about in 1878. ‘The concept remains unique, whatever version, and I think it must remain an obligation to Campbeltonians to ensure its preservation.
Custodianship
‘I would like to see the custodianship of it formalised to a public body, the museum, the library, the common good fund or Historic Scotland. ‘I think it should be in Campbeltown public hands if possible.’ Mr Togneri added that perhaps a public information board about the painting could be created, maybe housed in the museum for those unable to go to Davaar to see the painting. ‘I know of no other remotely similar painting anywhere at anytime, ever. ‘Archibald MacKinnon surely put Davaar Island on the map with his great leap of creative imagination.’