Historical Notices of St. Anthony's Monastery, Leith
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Scotland – North
Scotland – North Scotland was at the heart of Jacobitism. All four Jacobite risings - in 1689-91, 1715-16, 1719 and 1745-46 - took place either entirely (the first and third) or largely (the second and fourth) in Scotland. The north of Scotland was particularly important in the story of the risings. Two of them (in 1689-91 and 1719) took place entirely in the north of Scotland. The other two (in 1715-16 and 1745-46) began and ended in the north of Scotland, although both had wider theatres during the middle stages of the risings. The Jacobite movement in Scotland managed to attract a wide range of support, which is why more than one of the risings came close to succeeding. This support included Lowlanders as well as Highlanders, Episcopalians as well as Catholics (not to mention some Presbyterians and others), women as well as men, and an array of social groups and ages. This Scotland-North section has many Jacobite highlights. These include outstanding Jacobite collections in private houses such as Blair Castle, Scone Palace and Glamis Castle; state-owned houses with Jacobite links, such as Drum Castle and Corgarff Castle; and museums and exhibitions such as the West Highland Museum and the Culloden Visitor Centre. They also include places which played a vital role in Jacobite history, such as Glenfinnan, and the loyal Jacobite ports of the north-east, and battlefields (six of the land battles fought during the risings are in this section, together with several other skirmishes on land and sea). The decision has been made here to divide the Scottish sections into Scotland – South and Scotland – North, rather than the more traditional Highlands and Lowlands. -
From the Library of Cosmo Alexander Gordon
FROM THE LIBRARY OF COSMO ALEXANDER GORDON Lucretius De Rerum Natura 1-27 Sixteenth century 28-33 Seventeenth century 34-53 Eighteenth century 54-79 Nineteenth century 80-90 Twentieth century 91-92 BERNARD QUARITCH LTD List 2015/3 [email protected] +44 (0)20 7297 4888 Introduction by Nicolas Barker ‘Cosmo and I found our tastes and interests were always in harmony and I came to love his particular sense of humour and gentle goodness, as well as to respect his unusual style of scholarship and general culture.’ So wrote his life-long friend, Geoffrey Keynes in The Gates of Memory. All those who knew him shared the same feeling of calm and contentment, leavened by humour, in his company. Something of this radiates from this residue of a collection of books, never large but put together with a discrimination, a sense of the sum of all the properties of any book, that give it a special quality. Cosmo Alexander Gordon was born on 23 June 1886, the son of Arthur and Caroline Gordon of Ellon, Aberdeen. Ellon Castle was a modest late medieval building, with eighteenth-century additions and yew avenue, the river Ythan running by, where Cosmo fished for salmon and sea-trout. Dr Johnson stayed there in 1773 and admired the local antiquities. So did Cosmo; his taste had extended to medieval manuscripts before he left Rugby for King’s in 1904, where it was nurtured by M. R. James. Although Keynes had also been at Rugby, they did not meet until both were at Cambridge, where Gordon introduced his new friend to David’s book-stall and seventeenth-century literature; they shared a passion for Browne and Fuller. -
Three Centuries of British Art
Three Centuries of British Art Three Centuries of British Art Friday 30th September – Saturday 22nd October 2011 Shepherd & Derom Galleries in association with Nicholas Bagshawe Fine Art, London Campbell Wilson, Aberdeenshire, Scotland Moore-Gwyn Fine Art, London EIGHTEENTH CENTURY cat. 1 Francis Wheatley, ra (1747–1801) Going Milking Oil on Canvas; 14 × 12 inches Francis Wheatley was born in Covent Garden in London in 1747. His artistic training took place first at Shipley’s drawing classes and then at the newly formed Royal Academy Schools. He was a gifted draughtsman and won a number of prizes as a young man from the Society of Artists. His early work consists mainly of portraits and conversation pieces. These recall the work of Johann Zoffany (1733–1810) and Benjamin Wilson (1721–1788), under whom he is thought to have studied. John Hamilton Mortimer (1740–1779), his friend and occasional collaborator, was also a considerable influence on him in his early years. Despite some success at the outset, Wheatley’s fortunes began to suffer due to an excessively extravagant life-style and in 1779 he travelled to Ireland, mainly to escape his creditors. There he survived by painting portraits and local scenes for patrons and by 1784 was back in England. On his return his painting changed direction and he began to produce a type of painting best described as sentimental genre, whose guiding influence was the work of the French artist Jean-Baptiste Greuze (1725–1805). Wheatley’s new work in this style began to attract considerable notice and in the 1790’s he embarked upon his famous series of The Cries of London – scenes of street vendors selling their wares in the capital. -
Historical Notices of St. Anthony's Monastery
la^A^' HISTORICAL NOTICES ST, ANTHONY'S MONASTERY, LEITH REHEARSAL OF EVENTS Which occurred in the North of Scotland from 1635 to 1645 in relation to the National Covenant. Edited from A Contemporary MS. REV. CHARLES ROGERS LL.D Historiographer to the Royal Historical Society ; Fellow of the Society of Antiquaries ofScotland ; Fellow ofthe Royal Society ofNorthern Antiquaries, Copenhagen ; Member of the Historical Society of Pennsylvania ; Member of the Historical Society of Quebec ; and Corresponding Member of the Historical and Genealogical Society of New England. LONDON PRINTED FOR THE GRAMPIAN CLUB 1877 fiiSTORicAL Notices, Sjc, The patriarch of monks, St. Anthony, is one of the most notable saints in the Romish calendar. He was born A.D. 251, at Coma, or Great Heracleopolis, in Upper Egypt. His parents, who were Christians, kept him at home, fearing that through bad example his manners might be tainted. When he was under twenty his parents died, leaving him and an only sister, as their inheritance, an estate, in extent equal to a hundred and twenty British acres.* Imperfectly instructed in sacred knowledge, Anthony was influenced by a strong religious enthusiasm. Inducing his sister to concur with him, he disposed of their inheritance, in the belief that he was thereby fulfilling the divine command. The money which he received for his land he distributed among the poor, and adopted the life of an ascetic. He did not eat before sunset, and often fasted for two and three days together. He subsisted on bread; salt and water, abstained from washing his body, and clothed himself in a coarse shirt of hair. -
1 Ex E M Pt Sir Henry Raeburn, R.A. PORTRAIT of SIR WILLIAM
1 Sir Henry Raeburn, R.A. Ex PORTRAIT OF SIR WILLIAM FORBES 6TH BT. OF e PITSLIGO [1739-1806] m Half length, wearing black and the order of pt Novascotia Inscribed u.l.: Sir Wm Forbes Bt/of Pitsligo/Ad 1806 and no.: 13, and later inscribed l.l. Oil on canvas 29¼in by 24¼in EXHIBITED Edinburgh, Royal Scottish Academy, Exhibition of the Works of Sir Henry Raeburn, 1876, no. 288 LITERATURE Sir Walter Armstrong, Sir Henry Raeburn, 1901, p.102 Guide Price: £8,000 2 David Martin PORTRAIT OF ALEXANDER, 7TH EARL OF LEVEN AND 5TH EARL OF MELVILLE [1749-1826] Half length, wearing a green coat and waistcoat, white stock and holding his hat in his left hand Oil on canvas, in a later carved wood frame 29¼in by 24¼in Guide Price: £6,000 3 David Martin PORTRAIT OF DAVID, 6TH EARL OF LEVEN AND 4TH EARL OF MELVILLE [1722-1801] Three-quarter length, seated, wearing a red coat, a book in his left hand resting on his leg Signed l.l.: Martin Pinxt:/1782. Oil on canvas, in a later carved wood frame, 35½in by 29½in Guide Price: £8,000 4 David Martin PORTRAIT OF MARY BELSCHES Half length, wearing a pink dress, her right arm resting on a green cushion Oil on canvas, in a later carved wood frame 29in by 24½in Guide Price: £4,000 5 David Martin PORTRAIT OF A LADY Half length, wearing a white dress with blue ribbons and a black lace scarf Oil on canvas, in a later carved wood frame 29½in by 24¼in Guide Price: £4,000 6 David Martin PORTRAIT OF GENERAL, THE HON. -
Biography Daniel F
Newsletter No 42 Spring 2013 From the Chair touch with Shona Elliott, the editor (e-mail: [email protected]). In the year ahead, I hope to As my first ‘From the Chair’ I am pleased to report see you at our events or online. And, if you are on that this year the Society sees some new Facebook, don’t to forget to ‘like’ us and let others developments as well as us reaching further afield. know about the Society. It was very nice to see so many of our members at the first of our events of the year, the guided tour Benjamin Greenman of the W. Barns-Graham exhibition at Edinburgh’s City Arts Centre, for a wonderfully informative and engaging afternoon. There are a number of events SSAH Research Support Grants in the planning for the year ahead. Of particular note, is our intention to take a tour beyond The Scottish Society for Art History promotes Scotland’s cities with a visit to sites in and around scholarship in the history of Scottish art and art Moray. This is something that we have not done in located in Scotland. To facilitate this, the SSAH the recent past, and it will be a real opportunity to offers research support grants from £50 to £300 to see the diversity of contemporary arts, permanent assist with research costs and travel expenses. collections and history of the area. Details about Applicants must be working at a post-graduate this event will follow shortly, and I do hope that level or above and should either be resident in this is something that many of you will want to join Scotland or doing research that necessitates travel us on. -
Download 2013 Report
National Fund for Acquisitions Grants Paid 2012–2013 Cover: British Railways advertising poster South-West Scotland: The Galloway Dee, 1950–53, designed by Charles Oppenheimer, acquired by Dumfries and Galloway Council Museums Service. © The Stewartry Museum, Kirkcudbright National Fund for Acquisitions Grants Paid 2012–2013 Hazel Williamson NFA Manager National Museums Scotland Chambers Street Edinburgh EH1 1JF 0131 247 4106 [email protected] National Fund for Acquisitions Grants Paid 2012–2013 3 National Fund for Acquisitions The National Fund for Acquisitions (NFA), provided by Scottish Government to the Trustees of National Museums Scotland, contributes towards the acquisition of objects for the collections of Scottish museums, galleries, libraries, archives and other similar institutions open to the public. The Fund can help with acquisitions in most collecting areas including objects relating to the arts, literature, history, natural sciences, technology, industry and medicine. Decisions on grant applications are made in consultation with curatorial staff at National Museums Scotland and the Directors and staff of the National Galleries of Scotland and the National Library of Scotland who provide expert advice to the Fund. During 2012/13, the NFA made 81 payments totalling £204,462 to 33 organisations. The total purchase value of the objects to which the Fund contributed was £479,170. At 31 March 2013, a further 12 grants with a total value of £31,485 had been committed but not yet paid. The Fund again achieved wide coverage across Scottish collections, supporting purchases by museum services in 19 of Scotland’s 32 local authority areas, including 16 local authority museum services, 11 independent museums and 6 university collections. -
A List of Persons Concerned in the Rebellion
A LIST OF PERSONS CONCERNED IN THE REBELLION TRANSMITTED TO THE COMMISSIONERS OF EXCISE BY THE SEVERAL SUPERVISORS IN SCOTLAND IN OBEDIENCE TO A GENERAL LETTER OF THE 7th May 1746 AND A SUPPLEMENTARY LIST WITH EVIDENCES TO PROVE THE SAME With a Preface by THE EARL OF ROSEBERY and Annotations by the REV. WALTER MACLEOD EDINBURGH Printed at the University Press by T. and A. Constable for the President of the Scottish History Society 1890 Contents PREFACE ..................................................................................................................................................... 5 INDEX .......................................................................................................................................................... 12 A LIST FROM ABERDEEN DISTRICT OF PERSONS CONCERN‘D IN THE REBELLION TRANSMITTED TO THE BOARD BY Mr. DAVID STUART, SUPERVISOR OF EXCISE THERE. 13 A LIST OF PERSONS CONCERNED IN THE REBELLION TRANSMITTED TO THE BOARD BY MR JOHN STUART, SUPERVISOR OF EXCISE AT BANFF. .............................................................. 14 A LIST OF PERSONS CONCERNED IN THE REBELLION, TRANSMITTED TO THE BOARD BY MR. LEWIS HAY, SUPERVISOR OF EXCISE AT PERTH. .................................................................. 15 LIST OF PERSONS CONCERNED IN THE REBELLION, TRANSMITTED TO THE BOARD BY MR. JAMES McKERRAS, SUPERVISOR OF EXCISE AT ST. ANDREWS. ........................................ 16 A LIST OF PERSONS CONCERNED IN THE REBELLION TRANSMITTED TO THE BOARD BY MR, LAURENCE ANGUS, -
Fashionable Rebellion: Jacobite Women’S Objects of the Forty-Five
Fashionable Rebellion: Jacobite Women’s Objects of the Forty-Five by Finlay MacKenzie From the early battle of Prestonpans to the battle of Falkirk Muir, and most notably the climactic battle of Culloden, the battles of the Jacobite rising of 1745 have been commemorated, and the Jacobites themselves have been equated with the soldiers who fought on behalf of the exiled Stuarts. Whilst these battles were undoubtedly significant, they punctuated the ongoing social and political conflicts which occurred continuously throughout the Forty-Five. Rather than taking place on the battlefield, these conflicts were carried out in the social sphere of the eighteenth century, at public gatherings and in the private areas of the home. As expressing Jacobite ideology was a treasonous offence in Britain, supporters of the Stuarts turned to symbolism to communicate their beliefs. They decorated their possessions with coded imagery and texts, representing complex ideas to themselves or other Jacobites whilst hiding their messages from their political opponents. Central to this ideological, object-based war were Jacobite women, whose enthusiasm for the cause established a large market for Jacobite objects catered specifically to their needs and interests. Women’s participation in Jacobitism was frequently devalued and trivialised by authorities and other supporters of the Hanoverians, who considered them victims of their preoccupation with fashion, attracted to the Jacobite cause by its popularity and the romanticism of Prince Charles. However, the objects owned and used by Jacobite women create a markedly different image – one of a highly informed and active group of Stuart supporters who used their reputation for romanticism to enjoy freedom of political expression and emphasise their commitment to rebellion with as much conviction as Jacobite men. -
Rysbrack's Busts of James Gibbs and Alexander Pope from Henrietta Street
Gordon Balderston, ‘Rysbrack’s busts of James Gibbs and Alexander Pope from Henrietta Street’, The Georgian Group Journal, Vol. XI, 2001, pp. 1–28 TEXT © THE AUTHORS 2001 RYSBRACK’S BUSTS OF JAMES GIBBS AND ALEXANDER POPE FROM HENRIETTA STREET GORDON BALDERSTON n Rupert Gunnis published the fact that a The purpose of this article is to present, for the first Imarble bust of James Gibbs ( – ) by time, a coherent account of their common history up Michael Rysbrack ( – ) had been sold at to and of their respective provenances thereafter. Christie’s in . When idle curiosity prompted the Even though much of their story is well- present writer to look at the original auctioneer’s documented, there are no first-hand accounts to book, he discovered that Rysbrack’s marble bust of explain what motivated Gibbs to commission a Alexander Pope ( – ) had been written in by portrait of himself and another of Alexander Pope hand as the following lot and that both busts some years later – other than an intrinsic interest in belonged to Sir George Chalmers, an impecunious portraiture. This is evident from a letter written by painter. Since Chalmers was the brother-in-law of the Adrian Drift, Matthew Prior’s secretary and heir to Gibbs’s home (Cosmo Alexander, a Scottish amanuensis , to Edward, Lord Harley, on painter), it can now be established that Gibbs kept December (two months after Prior’s death). Drift marble busts of himself and of Alexander Pope in his relates that Gibbs had commissioned a (lead?) home at Henrietta Street. This newly-discovered version of Antoine Coysevox’s marble bust of Prior provenance and Pope’s own words that his portrait from Richard Dickenson of Hyde Park Corner : had been made ‘at the request of Mr. -
128300853.23.Pdf
^oss ^ I i I PUBLICATIONS OF THE SCOTTISH HISTORY SOCIETY VOLUME VIII. LIST OF REBELS SEPTEMBER 1890 This Tulume, printed from a Manuscript in his possession, is presented to the members of the Scottish History Society by the Earl of Rosebery, President. September 1890. A LIST OF PERSONS CONCERNED IN THE REBELLION TRANSMITTED TO THE COMMISSIONERS OF EXCISE BY THE SEVERAL SUPERVISORS IN SCOTLAND IN OBEDIENCE TO A GENERAL LETTER OF THE 7TH MAY 1746 AND A SUPPLEMENTARY LIST WITH EVIDENCES TO PROVE THE SAME With a Preface by THE EARL OF ROSEBERY and Annotations by the REV. WALTER MACLEOD EDINBURGH Printed at the University Press by T. and A. CONSTABLE for the President of the Scottish History Society 1890 CONTENTS PREFACE BY THE EARL OF ROSEBERY, LIST OF REBELS, SUPPLEMENTARY LIST, WITH EVIDENCES, APPENDIX BY THE REV. WALTER MACLEOD— I. ANALYSIS OF THE LIST,357 II. BIOGRAPHICAL NOTES,363 NOTES ON SUPPLEMENTARY LIST, . 386 III. ILLUSTRATIVE DOCUMENTS,390 . PREFACE THE list here printed is the bare official record of our last historical romance. There were afterwards in Great Britain Gordon Riots, and Bristol Riots, and Peterloo itself—these, though tragic, were ephemeral: but the march of the High- landers on London in 1745 was a civil war, perhaps the most picturesque and the most difficult to realise of all such con- flicts. For the tale in brief is this :— A hundred and forty-five years ago a French-born prince of British origin leaves Belleisle and lands in the Western Highlands. He is alone with seven followers, and a handful of louis d’ors, but his name with its traditions, and his own gallant bearing, rally round him a few chiefs and their followers. -
Rehearsal of Events Which Occurred in the North of Scotland from 1635 to 1645, in Relation to the National Covenant
Rehearsal of Events Which Occurred in the North of Scotland from 1635 to 1645, in Relation to the National Covenant. Edited from a Contemporary MS.: "A Litle Yet True Rehearsall of Severall Passages of Affairs, Collected by a Friend of Doctor Alexander's, at Aberdeen" Author(s): Charles Rogers Source: Transactions of the Royal Historical Society, Vol. 5 (1877), pp. 354-379 Published by: Cambridge University Press on behalf of the Royal Historical Society Stable URL: http://www.jstor.org/stable/3677956 Accessed: 27-06-2016 05:08 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Cambridge University Press, Royal Historical Society are collaborating with JSTOR to digitize, preserve and extend access to Transactions of the Royal Historical Society This content downloaded from 128.42.202.150 on Mon, 27 Jun 2016 05:08:19 UTC All use subject to http://about.jstor.org/terms 354 REHEARSAL OF EVENTS WHICH OCCURRED IN THE NORTH OF SCOTLAND FROM 1635 TO 1645, IN RELATION TO THE NATIONAL COVENANT. EDITED FROM A CONTEMPORARY MS. BY THE REV. CHARLES ROGERS, LL.D., FELLOW OF THE ROYAL HISTORICAL SOCIETY. A BELIEF in his divine right, with the acceptance of Arch- bishop Laud's doctrine that the concomitant of religious unity was uniformity in worship, led Charles I.