Dunfallandy Stone Statement of Significance
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THE PINNING STONES Culture and Community in Aberdeenshire
THE PINNING STONES Culture and community in Aberdeenshire When traditional rubble stone masonry walls were originally constructed it was common practice to use a variety of small stones, called pinnings, to make the larger stones secure in the wall. This gave rubble walls distinctively varied appearances across the country depend- ing upon what local practices and materials were used. Historic Scotland, Repointing Rubble First published in 2014 by Aberdeenshire Council Woodhill House, Westburn Road, Aberdeen AB16 5GB Text ©2014 François Matarasso Images ©2014 Anne Murray and Ray Smith The moral rights of the creators have been asserted. ISBN 978-0-9929334-0-1 This work is licensed under the Creative Commons Attribution-Non-Commercial-No Derivative Works 4.0 UK: England & Wales. You are free to copy, distribute, or display the digital version on condition that: you attribute the work to the author; the work is not used for commercial purposes; and you do not alter, transform, or add to it. Designed by Niamh Mooney, Aberdeenshire Council Printed by McKenzie Print THE PINNING STONES Culture and community in Aberdeenshire An essay by François Matarasso With additional research by Fiona Jack woodblock prints by Anne Murray and photographs by Ray Smith Commissioned by Aberdeenshire Council With support from Creative Scotland 2014 Foreword 10 PART ONE 1 Hidden in plain view 15 2 Place and People 25 3 A cultural mosaic 49 A physical heritage 52 A living heritage 62 A renewed culture 72 A distinctive voice in contemporary culture 89 4 Culture and -
{PDF EPUB} the Pictish Symbol Stones of Scotland by Iain Fraser ISBN 13: 9781902419534
Read Ebook {PDF EPUB} The Pictish Symbol Stones of Scotland by Iain Fraser ISBN 13: 9781902419534. This is a revised and expanded version of the RCAHMS publication originally entitled Pictish Symbol Stones - a Handlist . It publishes the complete known corpus of Pictish symbol stones, including descriptions, photos and professional archaeological drawings of each. An introduction gives an overview of work on the stones, and analyses the latest thinking as to their function and meaning. "synopsis" may belong to another edition of this title. After twenty years working in the shipping industry in Asia and America, Iain Fraser returned home in 1994 to establish The Elephant House, a caf�-restaurant in the Old Town famed for its connection with a certain fictional boy wizard. The Pictish Symbolic Stones of Scotland. This is a revised and expanded version of the RCAHMS publication originally entitled Pictish Symbol Stones - a Handlist . It publishes the complete known corpus of Pictish symbol stones, including descriptions, photos and professional archaeological drawings of each. Read More. This is a revised and expanded version of the RCAHMS publication originally entitled Pictish Symbol Stones - a Handlist . It publishes the complete known corpus of Pictish symbol stones, including descriptions, photos and professional archaeological drawings of each. Read Less. Dyce Symbol Stones. Wonder at the mysterious carvings on a pair of Pictish stones, one featuring a rare ogham inscription . The Dyce symbol stones are on display in an enclosure at the ruined kirk of St Fergus in Dyce. The older of the two, probably dating from about AD 600, is a granite symbol stone depicting a swimming beast above a cluster of symbols. -
A Guide to Ten of the Best Pictish Symbol Stones in Aberdeenshire
Pictish Symbol Stones The Pictish Period 300 AD – 900 AD MAIDEN STONE ST PETER’S CHURCH, FYVIE As one of the heartlands of the Pictish community, Aberdeenshire is home to a large The origin of the Picts can be found in the tribal society of the Iron Age. Their society was number of the elaborately decorated Symbol Stones for which the Picts are famed – around hierarchical, with a warrior elite and a lower farming class. They lived in Scotland, North of PICARDY STONE 20% of all Pictish stones recorded in Scotland can be found in Aberdeenshire. the Forth and Clyde rivers, between the 4th and 9th Centuries AD, with a particularly strong presence in what is now Aberdeenshire. This can be seen in the frequent occurrence of place The stones, incised or carved in relief, are decorated with a variety of symbols, ranging from names beginning “Pit”, thought to indicate the site of a Pictish settlement, as well as the BRANDSBUTT geometric shapes and patterns, to animals (real and mythical), human figures, objects, evidence from the archaeological record such as Symbol Stones and fortifications. and Christian motifs. Some earlier Pictish stones are also incised with a script known as Ogham, which comprises a pattern of short linear strokes crossing a vertical line. Said to They acquired the name Pict, or Picti, meaning “Painted People”, from the Romans – indeed, have originated around the 4th Century AD, it is an early form of the Irish language. Most much of what is known of the Picts is derived from historical writers from outside of examples of Ogham inscriptions are thought to represent personal names. -
A Reconsideration of Pictish Mirror and Comb Symbols Traci N
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2016 Gender Reflections: a Reconsideration of Pictish Mirror and Comb Symbols Traci N. Billings University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the Archaeological Anthropology Commons, European History Commons, and the Medieval History Commons Recommended Citation Billings, Traci N., "Gender Reflections: a Reconsideration of Pictish Mirror and Comb Symbols" (2016). Theses and Dissertations. 1351. https://dc.uwm.edu/etd/1351 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. GENDER REFLECTIONS: A RECONSIDERATION OF PICTISH MIRROR AND COMB SYMBOLS by Traci N. Billings A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Anthropology at The University of Wisconsin-Milwaukee December 2016 ABSTRACT GENDER REFLECTIONS: A RECONSIDERATION OF PICTISH MIRROR AND COMB SYMBOLS by Traci N. Billings The University of Wisconsin-Milwaukee, 2016 Under the Supervision of Professor Bettina Arnold, PhD. The interpretation of prehistoric iconography is complicated by the tendency to project contemporary male/female gender dichotomies into the past. Pictish monumental stone sculpture in Scotland has been studied over the last 100 years. Traditionally, mirror and comb symbols found on some stones produced in Scotland between AD 400 and AD 900 have been interpreted as being associated exclusively with women and/or the female gender. This thesis re-examines this assumption in light of more recent work to offer a new interpretation of Pictish mirror and comb symbols and to suggest a larger context for their possible meaning. -
The Declining Pictish Symbol - a Reappraisal the Late Gordon Murray
Proc SocAntiq Scot, (1986)6 11 , 223-253 The declining Pictish symbol - a reappraisal The late Gordon Murray SUMMARY The paper is mainly concerned with the three commonest Pictish symbols, the crescent, the double disc with Pictish the Z-rod and 'elephant' 'beast'.BStevensonR or K ideasDr The of and Dr I Henderson are outlined, namely that for each of these symbols a stylistic 'declining sequence' can be traced that corresponds approximately to a chronological sequence, enabling the probable place of origin of the symbol to be determined. The forms and distributions of the three symbols are examined in detail and it is argued that the finer examples of each are centred in different areas. For reasons which are stated, the classification of the crescent differs here from that made by Stevenson. The different decorative forms show significantly different distributions originthe but appears be to north. far most The the typicalin examples Z-rodthe of accompanying doublethe discfoundare predominantly in Aberdeenshire, where it is suggested that the symbol may have originated. Examples Pictishthe of beast hereare graded according extentthe to that their features correspond otherwiseor with lista whatof 'classical' the appear be to features form. distributionofthe The and general quality existingof examples suggest that originthe centre thisof symbol probablyis the in area Angusof easternand Perthshire. The paper also discusses arrangementthe symbolsthe of statements, in with some tentative remarks on the relative chronology of the mirror appearing alone as a qualifier. INTRODUCTION principle Th e declininth f eo g symbo thas i l t there existe prototypda r 'correcteo ' forr mfo at least some of the Pictish symbols, to which all surviving instances approximate in varying degrees, but from which later examples tend to depart more than earlier ones. -
V-Rod, Crescent Fantastic Beast / Creature
APPENDIX F PICTISH SYMBOL STONES - OBJECTS BY LOCATION These locations are derived from entries in The Pictish Symbol Stones of Scotland - RCAHMS 2008 Object Category / Item by Location (including RCAHMS Site Number): V-rod, Crescent V-Rod & crescent - Dyce NJ81 NE 8; Bourtie NJ82SW 4; Brandsbutt, Inverurie NJ72SE 23; Broomend of Crichie NJ71NE 8; Cairnton NJ81NE 79; Deer NJ94NE 5; Daviot NJ72NE 11; Fyvie NJ73NE 1; Inverurie NJ72SE 11 (stone 1); Kinellar NJ81SW 6; Kintore, Churchyard NJ1NE 33; Logie Elphinstone NJ72NW 7 (stone 1); Logie Elphinstone NJ72NW 7 (stone 2); Logie Elphinstone NJ72NW 7 (stone 3); Park House NO79NE 44.10; Rhynie Mains NJ42NE 36; Rhynie Old Church NJ42NE 30 (stone 2); Tillypronie NJ40NW 7; Tillytarmont NJ54NW 1 (stone 1); Tillytarmont NJ54NW 1 (stone 2); Turriff Manse NJ74NW 20; Aberlemno NO55NW 8 Roadside 2; Cossans NO45SW 4; Kinblethmont NO64NW 12; Monifieth NO43SE 25 (stone 2); Strathmartine Castle NO33NE 21; Edinburgh NT27SE 130; Abdie NO21NE 10; Advie NJ13SW 2; Ballintomb NJ02SW 36; Findlarig NH92NE 3; Inverallan NJ02NW 4; Lynchurn NH92SE 1; Crosskirk ND07SW 4; Latheron ND13SE 31; Skinnet Chapel, Halkirk ND16SW 2; Ulbster ND34SW 28.01; Watenan ND34SW 57; Balblair, Kilmorack NH54NW 155 (stone 2); Garbeg NH53SW 15; Invereen NH73SE 5; Glenferness NH94SW 10; Dalnavie Farm NH67SW 55; Dingwall NH55NW 7 ( x 3); Hilton of Cadboll NH87NE 7; Poolewe NG88SE 10; Rosemarkie NH75NW 7 (x 3); Tarbat NH98SW 15; Clach Ard, Tote, Skye NG44NW 1; Fiscavaig, Skye NG33SW 3; Raasay NG53NW 3; Tobar na Maor, Skye NG24NW 3; Clynekirkton -
The Date and Context of the Glamis, Angus, Carved Pictish Stones Lloyd Laing*
Proc Soc Antiq Scot, 131 (2001), 223–239 The date and context of the Glamis, Angus, carved Pictish stones Lloyd Laing* ABSTRACT The widely accepted eighth-century dating for the Pictish relief-decorated cross-slabs known as Glamis 2 and Glamis 1 is reviewed, and an alternative ninth-century date advanced for both monuments. It is suggested that the carving on front and back of Glamis 2 was contemporaneous, and that both monuments belong to the Aberlemno School. GLAMIS 2 DESCRIPTION The Glamis 2 stone (Allen & Anderson’s scheme, 1903, pt III, 3–4) stands in front of the manse at Glamis, Angus, and its measurements — 2.76 m by 1.5 m by 0.24 m — make it one of the larger Class II slabs. It is probably a re-used Bronze Age standing stone as there appear to be some cup- marks incised on the base of the cross face. Holes have been drilled in the relatively recent past at the base of the sides, presumably for support struts. Viewed from the front (cross) face the slab is pedimented, the ornament being partly incised, partly in relief (illus 1). The cross is in shallow relief, has double hollow armpits and a ring delimited by incised double lines except in the bottom right hand corner, where the ring is absent. It is decorated with interlace, with a central interlaced roundel on the crossing. The interlace on the cross-arms and immediately above the roundel is zoomorphic. At the top of the pediment is a pair of beast heads, now very weathered, with what may be a human head between them, in low relief. -
Sueno's Stone, on the Northern Outskirts of Forres, Is a 6.5M-High Cross-Slab, the Tallest Piece of Early Historic Sculpture in Scotland
Property in Care no: 309 Designations: Scheduled Monument (90292) Taken into State care: 1923 (Guardianship) Last reviewed: 2015 HISTORIC ENVIRONMENT SCOTLAND STATEMENT OF SIGNIFICANCE SUENO’S STONE We continually revise our Statements of Significance, so they may vary in length, format and level of detail. While every effort is made to keep them up to date, they should not be considered a definitive or final assessment of our properties Historic Environment Scotland – Scottish Charity No. SC045925 Principal Office: Longmore House, Salisbury Place, Edinburgh EH9 1SH HISTORIC ENVIRONMENT SCOTLAND STATEMENT OF SIGNIFICANCE SUENO’S STONE CONTENTS 1 Summary 2 1.1 Introduction 2 1.2 Statement of significance 2 2 Assessment of values 3 2.1 Background 3 2.2 Evidential values 5 2.3 Historical values 5 2.4 Architectural and artistic values 6 2.5 Landscape and aesthetic values 7 2.6 Natural heritage values 8 2.7 Contemporary/use values 8 3 Major gaps in understanding 10 4 Associated properties 10 5 Keywords 10 Bibliography 10 APPENDICES Appendix 1: Timeline 11 Appendix 2: Summary of archaeological investigations 12 Historic Environment Scotland – Scottish Charity No. SC045925 Principal Office: Longmore House, Salisbury Place, Edinburgh EH9 1SH 1 1 Summary 1.1 Introduction Sueno's Stone, on the northern outskirts of Forres, is a 6.5m-high cross-slab, the tallest piece of early historic sculpture in Scotland. It probably dates to the late first millennia AD.(The name Sueno, current from around 1700 and apparently in tribute to Svein Forkbeard, an 11th-century Danish king, is entirely without foundation.) In 1991 the stone was enclosed in a glass shelter to protect it from further erosion. -
Music in Scotland Before the Mid Ninth Century an Interdisciplinary
Clements, Joanna (2009) Music in Scotland before the mid-ninth century: an interdisciplinary approach. MMus(R) thesis. http://theses.gla.ac.uk/2368/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Music in Scotland before the Mid-Ninth Century: An Interdisciplinary Approach Joanna Clements Submitted in fulfilment of the requirements for the degree of MMus, Musicology Department of Music Faculty of Arts University of Glasgow February 2009 Abstract There are few sources for early medieval Scottish music and their interpretation is contentious. Many writers have consequently turned to Irish sources to supplement them. An examination of patterns of cultural influence in sculpture and metalwork suggests that, in addition to an Irish influence, a Northumbrian Anglo-Saxon influence and sources should be considered. Differences in the musical evidence from these groups, however, suggest a complex process of diffusion, innovation and local choice in the interaction of their musical cultures. The difficulty of predicting the course of such a process means that the observation of cultural influence in other disciplines is not on its own a useful tool in the study of music in Scotland before the mid-ninth century. -
Sculptured Stones South of the River Dee. 251 Report On
SCULPTURED STONES RIVE E SOUTTH 1 RF 25 HO DEE . IV. REPORT ON THE SCULPTURED STONES OLDER THAN A.D. 1100, WITH SYMBOLS AND CELTIC ORNAMENT, IN THE DISTRICT OF SCOTLAND E RIVE ; SOUTOBTAINEE TH RF DE O H D UNDE E VICTORIRTH A JUBILEE GIFT OF HIS EXCELLENCY DR R. H. GUNNING, F.S.A. SCOT. BY J. ROMILLY ALLEN, F.S.A. SOOT. submio t e g followinth be t I g e worreporth f k o t done durine gth past yea n makini r n archaeologicaga l survee earlth f yyo Sculptured Stones, with symbols and Celtic ornament, in the district of Scotland Rivee soutth f rho Dee. survee monumente Th th f yo northere th n si n hal f Scotlando f , made in 1890, has already been reported upon,1 and the work done in 1891, unde e Gunninth r g Fellowship, complete e e survewholth sth f r o eyfo Scotland. The area dealt with in 1891 comprises 20 counties, which are arranged in 4 sections in my preliminary list2 thus— East-Central Section. Kincardine, Forfar, Perth, FifeKinrossd an , , Western Section. Argyll and Bute. South- Western Section. Dumbarton, Renfrew, Lanark, Ayr, Wigtown, and Kirkcudbright. Soutli-Eastern Section. Linlithgow, Edinburgh, Haddington, Berwick, Selkirk, Rox- burgh Dumfriesd an , . The number of localities where sculptured stones exist in this area amounts to about 130, and most of these places had to be visited, except where the stones had been removed to Edinburgh, or in cases where I alreadd ha y see e stonenth somn so e previous occasion. -
The Inchyra Stone and Some Other Unpublished Early
E INCHYRTH A STON SOMD EAN E OTHER UNPUBLISHED EARLY CHRISTIAN MONUMENTS by ROBERT B. K. STEVENSON, M.A., F.S.A., F.S.A.SCOT. THE main purpose of this paper is to publish notes on some sculptured monuments or fragments that have either been foun Scotlann di recenn di t year r whicso e har insufficiently published. Seven of them are Pictish or later Picto-Scottish (1-4, 6-8), two are Northumbrian (10) and three are Strathclyde British (12-13). Attention is also drawn to particular features of three better-known monuments, Pictish (5), show w BritisNorse b no o ne t eh on (i/j.).(n) d an ,1 For though the number and variety of the sculptured stones of Pictland has led writer concentrato s t othe e th f ro ancient themn ar e o e th t, kingdoms belongs equally of cours Scotlano et presens it n di t sense.2 Indeed interesmuce th f hmoderr o fo t n study lies not only in the differences of style conditioned by their ethnic and political history, but in the repeated interaction of those styles within a country which, despite them, shared what was no doubt broadly a common culture. Some dis- cussio thesn no e line alreads sha y been attempte writee th Pictis r y drfo b h art,d 3an for crossee somth f Scotief o s o c Dalriada, bried 4an f general comments seem parti- cularly called for here by the British sculpture to which little attention has been paid fo lona r g timee opportunitTh . -
Gazetteer of Selected Scottish Battlefields
Scotland’s Historic Fields of Conflict Gazetteer: page 1 GAZETTEER OF SELECTED SCOTTISH BATTLEFIELDS LIST OF CONTENTS ABERDEEN II ............................................................................................................. 4 ALFORD ...................................................................................................................... 9 ANCRUM MOOR...................................................................................................... 19 AULDEARN .............................................................................................................. 26 BANNOCKBURN ..................................................................................................... 34 BOTHWELL BRIDGE .............................................................................................. 59 BRUNANBURH ........................................................................................................ 64 DRUMCLOG ............................................................................................................. 66 DUNBAR II................................................................................................................ 71 DUPPLIN MOOR ...................................................................................................... 79 FALKIRK I ................................................................................................................ 87 FALKIRK II ..............................................................................................................