For Victorians with a thirst for adventure, Scotland’s picturesque lochs offered dramatic scenery, sporting opportunities, a hint of romance and, in some cases, chilling tales of supernatural kelpies and creatures lurking in their depths.

But in the early days of tourism, reaching them presented a challenge even for intrepid 19th century travellers.

To help them on their way – and to give others a glimpse of Scotland’s delightful and, in some cases, dark and ominous lochs – was the ‘rough guide’ of its day, a beautifully illustrated volume of engravings and essential information that no stagecoach traveller could possibly be without.

The book, Scottish Loch Scenery, by writer Thomas A. Croal and artist A. F. Lydon, brought 25 lochs to life in enchanting images that avoided the temptation to bathe them in blue skies and sunshine.

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The Herald: Cover of the Scottish Loch Scenery (Capital Collections) Cover of the Scottish Loch Scenery (Capital Collections) (Image: Capital Collections)

Indeed, far from picture postcard pretty, some are depicted under the kind of dark, forbidding stormy skies that might put visitors off rather than encourage them to make the long journey north.

Accompanying the images, however, was helpful information, from stagecoach links with railways to detailed descriptions of the landscape, features to look out for, history and, in some cases, how to hire a boat for a day trip on the water.

Images and excerpts from the book – the travel guide to lochs of its day - have now been gathered in an online exhibition that takes viewers on a journey to Victorians’ ‘must see’ Scottish lochs.

Published in 1882, the book includes artist Lydon’s 25 landscape views of picturesque lochs and waterfalls captured at a stage well before mass tourism would encroach on remote areas of Scotland, showing them in all their undeveloped beauty.

While his co-author’s descriptions are a reminder of changed days, when exploring Scotland was a challenge involving stagecoaches, remote railway stations and solid walking boots but rewarded with fascinating history, heritage and beauty.

Some, however, may resonate even with travellers today, who no doubt will recognise his evocative description of the first glimpse of Loch Maree.

The Herald: Loch Maree (Capital Collections)Loch Maree (Capital Collections) (Image: Capital Collections)

“The first sight of this glorious loch, as the stage coach from Auchnasheen station brings the traveller to the top of a steep descent, is calculated to excite the liveliest emotions of wonder and surprise.”

Among the images in the exhibition is a serene moonlit view of Linlithgow Loch. Surrounded by rolling countryside, long since built over by the sprawling town, it is overshadowed by Linlithgow Palace and St Michael’s Church minus its famous ‘crown of thorns’ spire.

For Loch Doon in South Ayrshire, shafts of golden sunshine pierce the gloomy clouds and light a path along the loch’s calm surface to the lonely shepherd boy on its banks, tending his small flock of sheep.

In the accompanying text, Croal informs readers that, although Doon may evoke Robert Burns’ ‘banks and brae o’ bonnie Doon’, the loch is “far from the immediate land of Burns… lying remote in a wild and solitary mountain region.”

It is, however, within four miles of Dalmellington station with coaches which “frequently carry… searchers after the picturesque to this quiet, outlying place.”

Easier to reach is Duddingston Loch, in the shadow of Arthur’s Seat in Edinburgh, shown in Lydon’s engraving with a mass of curlers and skaters taking advantage of its frozen surface.

“When the frost has lasted for two or three days, and the word is passed round in the city that 'Duddingston is bearing', then as if by consent the city is is stirred to wend its way to the loch,” states the accompanying text.

“There have been times when Duddingston , like the Thames, has been so strongly frozen that an ox has been roasted upon it.”

READ MORE: Five spectacular Scottish lochs

The Herald:

At Loch Katrine, Croal references Sir Walter Scott’s connections and declares it to be “The most brilliant gem in the loch scenery of Scotland” and “the loveliest of them all”.

Loch Lomond is dubbed “Queen of the Scottish Lochs” portrayed under dark, forbidding skies, with none of today’s modern speed boats or lochside buildings.

“This magnificent sheet of water presents an almost infinite variety of scenery,” says Croall, who recommends a steamer trip from the pier at Balloch, enabling readers to enjoy the Highland scenery without the “fatigues” of travelling or the risk of sea-sickness.

“At Rowardennan Inn are guides and ponies, and although the stalwart man may dispense with the latter, it is not safe to attempt the ascent of Ben Lomond without a guide familiar with the road, for sudden mists may envelop the climber, and a mistake on the road may lead to death,” he warns.

Danger seems all around: at Loch Lubnaig in the Trossachs, he warns visitors that the river Leny is “seen to rush over huge rocks tearing, roaring, and tumbling, in a manner calculated to terrify the timid entrant to this wild district."

While one of the most forbidding images is of Loch Coruisk on the Isle of Skye, shown with dark storm clouds overhead and bleak, dark jagged mountain slopes towering above it.

Said in folklore to harbour kelpies within its glassy waters, Croal encourages readers to see past the formidable image: “There are few scenes more fitted to move the imagination than the wonderful loch, and the more wonderful hills that surround it, presented in this view,” he writes.

Lydon, an Irish watercolour artist and engraver was known for his natural history studies and landscapes. Well-travelled, he had lived in the West Indies and Canada before settling in England.  

While Croal brought local knowledge to the book – born in Edinburgh, he juggled a life similar to today’s freelance creators, holding down various roles that included the job of examiner in the General Post Office accounts department, with journalist for the Edinburgh Courant and Scottish Correspondent of The Madras Mail.

He also contributed articles on railway, electrical and telegraphic topics to many newspapers.

Claire Padget, Library Development Leader at Edinburgh City Council’s Capital Collections, said: “Some of the text accompanying the illustrations is quite useful, offering advice to readers on where to find the stagecoach at the railway station and the condition of the roads.

“While the illustrations are fascinating there was a very practical element to the publication – it was the travel guide book of its times.”

The images and accompanying text can be found at www.capitalcollections.org.uk