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Graham Dzons.Indd
Ni{ i Vizantija V 513 Graham Jones PROCLAIMED AT YORK: THE IMPACT OF CONSTANTINE, SAINT AND EMPEROR, ON COLLECTIVE BRITISH MEMORIES Constantine, raised to Augustan rank by the acclaim of the Roman sol- diers at York in 306, was not the only emperor whose reign began in Britain. As one of Rome’s most distant territories, and of course an island (Fig. 1), Britain seems always to have been vunerable to revolt, as indeed were all the west- ernmost provinces to greater or lesser degree.1 As early as 197, Albinus seized power in the West. Two generations later came the so-called Gallic Empire of Gallienus and his successors, in which Britain was involved together with Gaul, Spain and the Low Countries. It lasted for about twenty years in the middle of the third century. A series of usurpers – most famously Magnus Maximus, proclaimed emperor in Britain in 383, but continuing with Marcus in 406/7, Gratian in the latter year, and Constantine III from 408 to 411 – led the British monk Gildas, writing around 500, to describe his country as a ‘thicket of ty- rants’, echoing Jerome’s phrase that Britain was ‘fertile in usurpers’. Indeed, Constantine’s proclamation might not have happened at York were it not for the involvement of his father in pacifying Britain. Constantius crossed to Britain in 296 to end a ten-year revolt by a Belgian commander Carausius and his succes- sor Allectus. Constantius’ action in preventing the sack of London by part of the defeated army was commemorated by a famous gold medallion on which he is shown receiving the thanks of the city’s inhabitants as Redditor Lucis Aeternam (Fig. -
So Proud to Come from Govan
Annual Review 2017 So Proud to Come from Govan Annual Review to 31 March 2017 Annual Review 2017 AILEEN McGOWAN was born and brought up in Govan, attending St Saviour’s Primary and St Gerard’s Secondary schools. She started work in 1967 in ‘Fairfields’, first as a Clerical Assistant in the Pipe Shop before promotion to the Buying department and the post of Progress Chaser based in the main office building on Govan Rd. Finding herself the only young person in the department, she yearned to be among colleagues of a similar age and left in 1969 for Glasgow City Council where she ultimately from the chair became a Housing Officer at Mosspark Rent Office. Aileen McGowan, the newly elected Chair of Govan Workspace From 1975 Aileen took a 5-year career break to start a family after IT GIVES me great pleasure to present turned out to be a great community which she attended Cardonald our Annual Review in what has been event which drew people of all ages. College and completed three another busy and successful year for The highlight for me was seeing the Highers. The next move was to Govan Workspace. But before doing GYIP kids (of Govan Youth Information Paisley University and graduation in that, my first task must be to thank the Project) starring for the day as Sir Alex’s 1985 with BA (Hons). board for electing me as their Chair. It bodyguards, complete in Viking uniforms. is a tremendous honour to be asked to Sir Alex himself was a true gentleman and Her chosen profession from take on that role in such a successful and left these young people and their families that point onwards was in Careers, worthwhile enterprise. -
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. -
Viking Heritage Trail
Graphic design: Indigo Design, Glasgow Design, Graphic Indigo design: The Viking Heritage Dumbarton Rock © Hidden Heritage Project Trail The story of Viking activity around the Firth of Clyde begins with the siege of Dumbarton Rock in AD 870 and ends with the Battle of Largs in AD 1263. Evidence for this activity can be seen in the landscape, and in the form of small finds and grave goods. They tell us that Norse families settled here, while historic accounts of battles and invasion routes describe the Norse struggle for control of this beautiful and resource-filled landscape. The Hidden Heritage Project is hosted by Arrochar and Tarbet Community Development Trust. It aimed to involve the community in investigating and interpreting the area’s heritage. This leaflet was part-financed by the Heritage Lottery Fund and also by the Scottish Government and the European Community Argyll and the Islands LEADER 2007-2013 Programme. A guide to Viking sites Olaus Magnus, 1555 around the Clyde After the death of Hakon, shortly after the Battle of Largs in 1263, Norse control in Scotland became confined to the Northern Isles of Orkney and Shetland. However, the lives of kings form only a small part of the story of the Vikings in Scotland, and no doubt many of the erstwhile invaders settled and mingled with other cultural groups around the Clyde, where their stories have become interwoven in the hidden history of Disclaimer Arrochar and Tarbet Community Development Trust has produced this leaflet in Scotland. good faith and done its best to ensure that the information contained is accurate and up to date at the time of printing. -
Responsible Travel Trade Itinerary – Dundee and Angus
Dundee and Angus Itinerary - 3 Days 01. V&A Dundee Dundee Rep Theatre Designed by internationally acclaimed Japanese architect Kengo Dundee Rep Theatre is one of Scotland’s most welcoming and Kuma, the first V&A museum in the world outside London and awarded theatres creating and showcasing world-class theatre, the first ever dedicated design museum in Scotland, V&A Dundee dance, comedy & live music. Dundee Rep sits at the cultural welcomes your clients to the world of design and encourages them heart of Scotland and the City of Dundee. Your clients can visit to explore how design creativity can be provocative, ingenious or the award-winning Rep Café Bar/Restaurant, for a relaxing coffee simply breath-taking. Your clients can experience the remarkable or have lunch with friends. story of design past, present and future and the vital contribution Recognised to be among the design makes to everybody’s life, through permanent displays and top regional theatres in the changing exhibitions. UK, it plays to an average audience of over 70,000 1 Riverside Esplanade people a year. Dundee, DD1 4EZ www.vam.ac.uk Tay Square Link to Trade Website Dundee, DD1 1PB www.dundeerep.co.uk Link to Trade Website Distance between V&A and RRS Discovery is 476ft/0.14km Distance between Dundee Rep Theatre and Arbroath Abbey is 18.3 miles/ 29.4km Arbroath Abbey Arbroath Abbey is famously associated with the Declaration of Arbroath of 1320, which asserted Scotland’s independence from England and proclaimed Robert the Bruce as King of Scotland. A facsimile of this iconic document is on display at their visitor centre. -
The Battle of Linwood Bridge
RLHF Journal Vol.6 (1994) 6. The Sculptured Stones of Govan and Renfrewshire Irene Hughson In April 1994 members of the Pictish Arts Society travelled to Paisley to join members of Renfrewshire Local History Forum in a day devoted to the study of some examples of what is now called the Govan School of sculpture. Compared with the magnificent craftsmanship and original symbolism of the true Pictish stones what we have in Govan and the surrounding area is late, derivative and much of it inferior in execution. The stones of the Govan School come towards the end of a long tradition in sculpture rather than at the beginning. They are nevertheless very intriguing, and well worth a visit. Though some of them may lack the delicacy and intricacy of earlier work, the interlace patterns are simple and bold. The animal carving is vigorous and attractively “chunky." In Romilly Allen and Joseph Anderson's classic work (now, of course, re-issued by a P.A.S. member) the stones were simply designated as Class 3. (1903 and 1993) There are, however, stylistic similarities within a fairly well defined geographical area which justifies the use of the term ‘school.' Historically they are rather puzzling. There is a large number of stones - more than 50 altogether - with a concentration of over 30 at a single site, namely Govan Old Parish Church which is absolutely and totally absent from historical records. Probably because of that, the collection has received rather less scholarly attention than other groups of stones, and has been virtually ignored by cultural tourists who make pilgrimages to Aberlemno, Meigle and St. -
Investigating
St Vigeans Museum, home to one of the most INVESTIGATING important collections of Pictish sculptured stones in ST VIGEANS MUSEUM Scotland, offers a fantastic opportunity to explore OF CARVED STONES the lives of Scotland’s early people. Information for teachers EDUCATION INVESTIGATING HISTorIC SITES ST VIGEANS muSEum of CARVED STONES 2 Timeline The Picts remain a mystery Historical background to historians as they left behind very little evidence St Vigeans Museum is home to one one of the largest and finest collections that can tell us of their of the most important collections of in Scotland. Further fragments still history. They left no written legacy and even their Pictish sculptured stones in Scotland. remain in the church’s walls. language died out. All that is The site offers a fantastic opportunity The church of St Vigeans served as left is their beautifully carved to explore the lives of Scotland’s early stones and artefacts. Thus, the parish church for the people of what we do know about the people through the carved stones that Arbroath until the 16th century. The Picts has been written by they left behind. oldest parts date from the 12th century, other peoples. The church at St Vigeans is dedicated to though most of what you now see is AD 297 – The first written St Fechin (from whom it gets its name), the result of a 19th-century restoration, record of the Picts is made by a Roman writer who a 7th-century Irish saint. Though there when many of the Pictish fragments refers to the people living is no record of St Fechin having visited were uncovered. -
A Learning Resource for Teachers of Curriculum for Excellence Level 2
A learning resource for teachers of Curriculum for Excellence Level 2 A learning resource for teachers i Introduction The Picts are one of Scotland’s greatest mysteries: an apparently vanished nation, chronicled by others but not by themselves. The Picts speak to us only through their inspiring creativity – their marvellous carved stones, their monumental hillforts and their beautiful jewellery. This resource will aim to provide an introduction to a topic rich in imagination, creativity and enquiry. Through discovery, exploration and sharing, teachers can engage young people by inspiring curiosity and inviting them to investigate this hidden part of their history and the evidence it has left in our culture and environment. The resource will act as a portal to enable the discovery of local sites and resources, integrating them with national learning resources such as SCRAN. This resource aims to: • inspire and encourage practitioners to engage with this fascinating topic; • bring the early historic Picts alive through a series of classroom and place-based activities (particularly focused on the hillforts on Scotland’s National Forest Estate); • encourage teachers and pupils to explore their local museums, archaeological sites and historic monuments; and to • promote the active engagement of schools with the wealth of historic and archaeological learning resources available both online and in print. With the help and support of: iii The Picts Contents Page Introduction i How to use this resource 2 Curriculum for Excellence 3 Outdoor Learning 5 Introducing the Picts 8 Who were the Picts? 14 Finding the Picts 22 Creative Picts 34 Pagan Picts? 41 What have you discovered about the Picts? 51 Further Resources 52 A learning resource for teachers 1 How to use this resource Teachers and pupils can use this resource in a number of different ways. -
St. Vigeans Stones (And Museum)
Property in Care (PIC) ID: PIC0 41 Designations: St. Vigean’s Museum Scheduled Monument (90272) Listed Building (LB4775) Category B Taken into State care: 1961 (Owner) Last reviewed: 2015 HISTORIC ENVIRONMENT SCOTLAND STATEMENT OF SIGNIFICANCE ST. VIGEANS STONES (AND MUSEUM) 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 – Scottish Charity No. SC045925 Principal Office: Longmore House, Salisbury Place, Edinburgh EH9 1SH HISTORIC ENVIRONMENT SCOTLAND STATEMENT OF SIGNIFICANCE ST VIGEANS MUSEUM 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 4 2.3 Historical values 5 2.4 Architectural and artistic values 7 2.5 Landscape and aesthetic values 9 2.6 Natural heritage values 10 2.7 Contemporary/use values 10 3 Major gaps in understanding 11 4 Associated properties 12 5 Keywords 12 Bibliography 12 APPENDICES Appendix 1: Timeline 14 Appendix 2: Summary of archaeological investigations 15 Historic Environment Scotland – Scottish Charity No. SC045925 Principal Office: Longmore House, Salisbury Place, Edinburgh EH9 1SH 1 1 Summary 1.1 Introduction St Vigeans museum, housed adjacent to the parish church in two cottages at Kirkstyle, contains 34 early medieval carved stones and 8 later medieval carved architectural fragments. The collection was found within the fabric of the church and the kirkyard following restoration work in 1871–72. -
A Reassessment of the Early Medieval Stone Crosses and Related Sculpture of O Aly, Kilkenny and Tipperary
Durham E-Theses A reassessment of the early medieval stone crosses and related sculpture of oaly, Kilkenny and Tipperary Edwards, Nancy How to cite: Edwards, Nancy (1982) A reassessment of the early medieval stone crosses and related sculpture of oaly, Kilkenny and Tipperary, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7418/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 a Reassessment op tbe ecmly raeofeoat stone cRosses ariO ReLateo scaLptciRe of offaly kilkenny ano tfppeRciR^y nancy efocoa&os Abstract This study is concerned with the Early Medieval freestanding stone crosses and related sculpture of three Irish counties, Offaly, Kilkenny and Tipperary. These monuments are recorded both descriptively and photographically and particular emphasis has been placed on a detailed analysis of the Hiberno-Saxon abstract ornament, the patterns used and, where possible, the way in which they were constructed. -
Pas News Index (57)
INDEX TO PAS NEWSLETTER – from No 32, Winter 2003 to No 57 Winter 2010 Stones Kirriemuir 18 32.8; *34.2-3 Aberlemno, boxes *45.10; 48.8; interpretation panels Knocknagael *53.9 34.4; leaflets 38.3; No 2 *48.8; No 4 *51.5; road Letham, Angus, girdle stone *54.10 signs Leuchars, rediscovery 37.7 Advie *41.11-12 Logierait 2 *40.1 Arbroath 39.3 Mail, Cunningsburgh, Shetland *49.7-8; *54.6-7 Arbuthnott, carved fragment *40.9; church 40.9; 44.8; kirkyard wall *43.8 Marykirk, carved stones 40.6-8 Auquhollie *40.6 Meigle 2, drawing by John Borland *36.3 Benholm, possible symbol stone 40.8-9 Migvie 39.7; 40.6; 41.8 Benvie *32.5 Mill of Newton (Tomachar), at Migvie church 39.7; 40.6; 41.8 Borrobol *51.4; 53.*8-9 Monifieth, parish church 39.3; No 3 39.3; No 5 39.3 Brechin, cathedral collection 43.6 Monymusk 41.8 Carnbee 32.3; *40.11 Mugdrum 50.7 Castle of Fiddes *39.1-2 Murroes *39.3 Clach Na H-Uaighe *53.8 Old Scatness *54.4-6 Collessie 33.2; 36.6; *54.1 Reswallie, cup-marked stone *54.9 Congash, No 1 *41.12; No 2 41.12 Rhynie 1 47.9-10 Cossans (St Orland’s Stone), a tale of 48.5-7; access 48.3; excavation at 48.3-4 Rosemarkie, discovery *34.4 Craigmyle 41.8 St Kilda, new find *48.9; *55.2 Delnadamph, discovery 32.3 St Ninian’s Cave, guide *44.6; No 2 *44.6 Dingwall *46.10 St Vigeans, museum 43.5-6; No 1, Drosten stone *45.4; cake *51.10; ?No 6 *45.5; No 8 *46.14; Dunachton *52.7-9 No 14 *46.14; recumbent in kirk wall *46.13-15 Dunadd 46.4; 55.4 Shandwick shelter 51.3 Dupplin *51.6-7 Skinnet 51.10 Dyce, carved stones in kirk walls *45.7 Strathmartine, -
St Vigeans No 1 and No 1A: a Reconsideration Pamela O’Neill
volume 4 - 2008 St Vigeans no 1 and no 1a: a reconsideration Pamela O’Neill Abstract The monument known as St Vigeans No 1, or the Drosten Stone, is located in St Vigeans Museum, near Arbroath in Angus, Scotland. It is a Pictish cross-slab of approximately 9th-century date and bears both Pictish symbols and a cross. It stands 1740 mm tall, is about 550 mm wide, and roughly 180 mm thick. In its present form, it consists of two pieces of sandstone, St Vigeans No 1 and St Vigeans No 1a (as catalogued in The Early Christian Monuments of Scotland), together with various modern substances employed in the joining and presentation of the monument.1 This paper contends that St Vigeans No 1 and St Vigeans No 1a are not parts of a single early medieval monument, as is generally accepted, but rather originated as parts of two separate monuments, although the two original monuments may have been products of the same school, possibly the same sculptor, and of similar date. This contention arises from the author’s observations of the monument during a visit to St Vigeans in July 1999. In The Early Christian Monuments of Scotland, Romilly Allen says of St Vigeans No 1: ‘... No. 1, the “Drosten” Stone, used to form part of the pavement at the bottom of the stairway in the church; afterwards, at the time when Dr J. Stuart’s Sculptured Stones of Scotland (vol. i.) was published in 1856, it was standing in the churchyard; and it is now placed upright in the W.