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Lothian
Jane Geddes, Ian Gow, Aonghus MacKechnie, Chris Tabraham, Colin McWilliam
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R1,380
R1,275
Discovery Miles 12 750
Save R105 (8%)
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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.
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