This is the first fully revised and expanded guide to the buildings of Lothian since Colin McWilliam's pioneering volume of 1978, with new colour photography, maps and plans to accompany the unrivalled coverage of the area. Lothian surrounds the capital city of Edinburgh, which has done much to influence the character of its buildings. Among these are some important medieval relics, including the internationally-famous Rosslyn Chapel, the royal Renaissance palace at Linlithgow and the ruins of great castles and tower houses. Among major country houses, none are more splendid than Hopetoun and the ducal seat of Dalkeith Palace but Lothian also has the extraordinarily well-preserved Newhailes and mighty Gosford House. This is also an area of picturesque small towns and resorts along the Firth of Forth with outstanding villas for the Edwardian elite, and rural villages of unspoiled character, preserving remains of their agricultural heritage. The industrial legacy is important, including not only one of the most complete collieries in Scotland but also the world-famous Forth Rail Bridge. This volume is an essential reference for visitors and residents alike.

The Drosten stone - one of Scotland's premier monuments - came to light during restoration work at St Vigeans church, near Arbroath, in the 1870s. A rare example of Pictish writing, the Drosten stone is just one in an astounding collection of exquisitely preserved Pictish sculptures discovered in and around the church. The carvings on these stones revel in Pictish inventiveness, teeming with lively naturalistic animals and innovative compositions of monsters and people, as well as both Pictish symbols and everyday objects. The sculptures' iconography also draws on a deep knowledge of Christian and classical literature, witness to a highly literate and cosmopolitan society. This definitive study of St Vigeans' Pictish stones, generously illustrated with plates of the full collection, begins in the recent past, when the sculptures began to emerge as a remarkable historic entity. It then explores the history of the sculptures, including an analysis of the carvings, the geology of the stones and attempts to extract meaning and context for this unique stone collection as part of a powerful ecclesiastical landscape.

Exploring the medieval heritage of Aberdeenshire and Moray, the essays in this volume contain insights and recent work presented at the British Archaeological Association Conference of 2014, based at Aberdeen University. The opening, historical chapters establish the political, economic and administrative context of the region, looking at both the secular and religious worlds and include an examination of Elgin Cathedral and the bishops' palaces. The discoveries at the excavations of the kirk of St Nicholas, which have revealed the early origins of religious life in Aberdeen city, are summarized and subsequent papers consider the role of patronage. Patronage is explored in terms of architecture, the dramas of the Reformation and its aftermath highlighted through essentially humble parish churches, assailed by turbulent events and personalities. The collegiate church at Cullen, particularly its tomb sculpture, provides an unusually detailed view of the spiritual and dynastic needs of its patrons. The decoration of spectacular ceilings, both carved and painted, at St Machar's Cathedral, Provost Skene's House and Crathes Castle, are surveyed through the eyes of their patrons and the viewers below. Saints and religious devotion feature in the last four chapters, focusing on the carved wooden panels from Fetteresso, which display both piety and a rare glimpse of Scottish medieval carnal humour, the illuminated manuscripts from Arbuthnott, the Aberdeen Breviary and Historia Gentis Scotorum. The medieval artistic culture of north-east Scotland is both battered by time and relatively little known. With discerning interpretation, this volume shows that much high-quality material still survives, while the lavish illustrations restore some glamour to this lost medieval world.

The International Conference on Insular Art (IIAC) is the leading forum for scholars of the visual and material culture of early medieval Ireland and Britain, including manuscript illumination, sculpture, metalwork, and textiles, and encompassing the work of Anglo-Saxon-, Celtic- and Norse-speaking artists. The present volume contains a selection of papers presented at the eighth IIAC, which took place in Glasgow 11-14 July 2017. The theme of IIAC8 - Peopling Insular Art: Practice, Performance, Perception - was intended to focus attention on those who commissioned, created, and engaged with Insular art objects, and how they conceptualised, fashioned, and experienced them (with 'engagement' covering not only contemporary audiences, but later medieval and modern ones too). The twenty-one articles gathered here reflect the diverse ways in which this theme has been interpreted. They demonstrate the intellectual vibrancy of Insular art studies, its international outlook, its interdiscplinarity, and its openness to innovative technologies and approaches, while at the same time demonstrating the strength and enduring value of established methodologies and research practices. The studies collected here focus not only on made objects, but on the creative processes and intellectual decisions which informed their making. This volume brings Insular makers - the illuminators, pattern-makers, rubricators, carvers, and casters - to the fore.

New research into medieval women from the Anglo-Saxon to the late medieval period demonstrates their energy, defiance and wit. The phenomenon of medieval women's middle age is a stage in the lifecycle that has been frequently overlooked in preference for the examination of female youth and old age. The essays collected here, ranging from the Anglo-Saxon to the late medieval period, and drawing variously from literary studies, history, law, art and theology, address this lacuna. Taking a variety of critical approaches, the contributors consider medieval definitions, paradigms andexperiences of female middle age, analysing how the middle-aged woman perceived herself subjectively, as well as how she was perceived by others. They seek to challenge the received wisdom that in the middle ages, at forty, womenwere deemed "old" and, from that point onwards, their thoughts should be focused on preparing for death. On the contrary, this collection demonstrates their energy, defiance and wit. Sue Niebrzydowski is Lecturer in English, Bangor University, Wales. Contributors: Jane Geddes, Clare A. Lees, Carol M. Meale, Anneke B. Mulder-Bakker, Sue Niebrzydowski, Raluca L. Radulescu, Sara Elin Roberts, Corinne Saunders, Diane Watt.

Exploring the medieval heritage of Aberdeenshire and Moray, the essays in this volume contain insights and recent work presented at the British Archaeological Association Conference of 2014, based at Aberdeen University. The opening, historical chapters establish the political, economic and administrative context of the region, looking at both the secular and religious worlds and include an examination of Elgin Cathedral and the bishops' palaces. The discoveries at the excavations of the kirk of St Nicholas, which have revealed the early origins of religious life in Aberdeen city, are summarized and subsequent papers consider the role of patronage. Patronage is explored in terms of architecture, the dramas of the Reformation and its aftermath highlighted through essentially humble parish churches, assailed by turbulent events and personalities. The collegiate church at Cullen, particularly its tomb sculpture, provides an unusually detailed view of the spiritual and dynastic needs of its patrons. The decoration of spectacular ceilings, both carved and painted, at St Machar's Cathedral, Provost Skene's House and Crathes Castle, are surveyed through the eyes of their patrons and the viewers below. Saints and religious devotion feature in the last four chapters, focusing on the carved wooden panels from Fetteresso, which display both piety and a rare glimpse of Scottish medieval carnal humour, the illuminated manuscripts from Arbuthnott, the Aberdeen Breviary and Historia Gentis Scotorum. The medieval artistic culture of north-east Scotland is both battered by time and relatively little known. With discerning interpretation, this volume shows that much high-quality material still survives, while the lavish illustrations restore some glamour to this lost medieval world.