Discover Scotland Issue 61 by Discover Scotland

Bringing Skara Brae back to life

Playing games with history

The birdman of Eilean Donan castle

Exploring nature, science and murder

Tasty twist to traditional haggis dish Issue 61

Solving a centuries old mystery 1

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The Ochil Hills After A Fall Of Snow Photo by Paul Tomkins / VisitScotland

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Heritage

Living

Work by Scotland’s greatest

Family wanted for new life on island idyll

writers saved for the future

Antiques

Games

Roo Irvine contemplates ‘famous last words’

Aberdeen archives inspire a modern video game

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Food & Beverage

Folklore

Gordon Howe conjures up a

The legendary birdman of Eilean Donan

delicious haggis supper

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Antiques

History

Honouring the work of Scotland’s silversmiths

Historic links to a Queen’s mother

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118

128

Active Scotland

Arts

Fitness festival a first for

Artistic visions of the nightmares ahead

Cairngorms

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162

Days Out

Antiques

Making an exhibition of murder and other topics

Mystery of ancient treasure trove uncovered

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174

180

Reader’s Lives

History

Poetry inspired by deathly walks

Fresh look at an ancient monument

192 Property New home suggestions for the New Year?

1/216 Cover/Back Photo River Moriston looking towards Beinn Loinne Photo by Paul Tomkins / VisitScotland

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Discover Scotland is an independent magazine published by Discover Scotland Ltd. The monthly digital title provides an international audience of readers with comprehensive coverage of modern day Scotland, its people, achievements, culture, history and customs. Every issue covers a variety of topics of interest to thousands of people every month, many of them visitors to Scotland or part of the great Scottish diaspora. The digital edition incorporates audio, video and text in a single platform designed for use on Apple, Android and Windows devices. The magazine is free to subscribe to and download. For more information on how to get a copy, subscribe or enquire about advertising please contact the relevant departments. The publishers cannot accept responsibility for any claim made by advertisements in Discover Scotland magazine or on the Discover Scotland website. All information should be checked with the advertisers.

General Enquiries info@discoverscotlandmagazine.com

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The content of the magazine does not necessarily represent the views of the publishers or imply any endorsement. No part of this publication may be reproduced in any form without prior agreement in writing from Discover Scotland Ltd.

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Heritage

reasure trove of literature saved for the nation A

unique collection of literary works, including rare manuscripts created by some of Scotland’s greatest writers, has been saved for the nation. Scottish members of a consortium set up to keep the items in the UK have welcomed the news that their international appeal has reached its target of £15 million. This means that the Blavatnik Honresfield Library (formerly Honresfield Library) – a treasure trove of items from the world’s most beloved writers, unseen by the public for almost a century – will no longer be sold at open auction and instead will be shared with libraries and other organisations across the nations of the UK. The library, collected and curated by a Rochdale businessman in the 1800s, comprises priceless manuscripts, rare first editions and irreplaceable letters. These include works by Robert Burns, Sir Walter Scott, Jane Austen and the Brontë siblings.

Portrait of Sir Walter Scott by Sir Henry Raeburn in the National Galleries of Scotland

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Portrait of Robert Burns Photo courtesy of the University of Texas Libraries, The University of Texas at Austin.

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Scott’s study at Abbotsford House Photo by Michael D Beckwith CC0 1.0

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A UK-wide consortium led by The Friends of the National Libraries, which includes Abbotsford, the National Library of Scotland and the National Trust for Scotland, was successful in raising half the funds needed from hundreds of individual donors, as well as the National Heritage Memorial Fund, the Scottish Government, the Foyle Foundation, and other organisations, with the balance coming from a generous donation by Sir Leonard Blavatnik – the largest ever given to the UK by an individual for a literary treasure. This achievement has also been made possible by the vendor’s willingness to give the consortium the time needed to launch and run the fundraising appeal, to which countless people from Scotland, the UK and around the world contributed.

Abbotsford - The Home of Sir Walter Scott

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Robert Burns, First Commonplace Book Photo courtesy of Sotheby’s

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Robert Burns, First Commonplace Book Photo courtesy of Sotheby’s

Arrangements will be made in the coming months for the Scottish organisations to take possession of key works from the collection, conserve them and make them publicly accessible. These include an early volume of poems by Robert Burns in his own hand – containing some of his earliest

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recorded literary works – known as the First Commonplace Book, as well as individual autograph poems, Cessnock Bank and the Brigs of Ayr, and some of the poet’s earliest correspondence, including the only extant letter to his beloved father.

Walter Scott’s manuscript of The Lay of the Last Minstrel. Photo courtesy of Sotheby’s

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Other Scottish material of huge importance is the complete working manuscript of Sir Walter Scott’s iconic novel Rob Roy, part of the autographed manuscript of Scott’s verse romance, The Lay of the Last Minstrel, his travel

journal of an expedition off the Scottish coast in 1814, a copy of Border Antiquities with extensive manuscript revisions, and an exceptional group of Scott first editions in their original condition.

Walter Scott’s manuscript of The Lay of the Last Minstrel. Photo courtesy of Sotheby’s

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Rob Roy by Sir Walter Scott, illustration by Adam & Charles Black 1886

“It’s important for the nation that this coveted collection of literary treasures has been saved from being sold into private hands. Once again, books which play a crucial part in Scotland’s literary history were in danger of being withheld from public view. These include some of Robert Burns’s earliest works and the manuscript of Sir Walter Scott’s Rob Roy,” said Jenny Gilruth, Scotland’s Culture Minister. “The Scottish Government is pleased to support the Honresfield Library appeal by providing £400,000 to ensure these valuable books return to Scotland where our culture and heritage organisations will ensure they are cared for, preserved and made available to the public.”

Robert Burns, First Commonplace Book Photo courtesy of Sotheby’s

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Walter Scott’s manuscript introduction to The Lay of the Last Minstrel Photo courtesy of Sotheby’s

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Original manuscript of Rob Roy Photo courtesy of Sotheby’s

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Among the organisations contributing to the fundraiser was the National Heritage Memorial Fund (NHMF) which donated £4million, the largest amount it has ever granted towards an acquisition of literary manuscripts since its formation in 1980 “This is truly a once-in-a-lifetime opportunity to acquire such an outstanding and nationally significant collection. The NHMF is a fund of last resort, and the astonishing array of manuscripts will join over 1,000 heritage treasures saved for the nation.

With Honresfield Library now secured for public ownership, organisations across the UK will benefit from these literary gems joining their collections,” said Ros Kerslake, Chief Executive of the NHMF Amina Shah, Trustee of the FNL and National Librarian and Chief Executive of the National Library of Scotland, described the unprecedented speed and effectiveness of the consortium’s efforts as a triumph for the people, for heritage and for the power of partnerships.

Robert Burns, First Commonplace Book Photo courtesy of Sotheby’s

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“This is the most fantastic news. We are so grateful to everyone who contributed to the appeal for acts of such astonishing generosity, as well as to the Scottish Government for the welcome support given,” said Phil Long OBE, Chief Executive of the National Trust for Scotland. “Those lucky enough to view the collection items have said that they express a palpable feeling of history in the making, with some of the works being part of the very foundation of our shared culture. I’m looking forward to the opportunity to display items from the collection in Scotland so that as many people as possible can share in that feeling.” Giles Ingram, Chief Executive of Abbotsford said securing the future of collection for the nation had been an incredible achievement. “To think that manuscripts written by Walter Scott in his own hand, will be returning to his homeland, many to his own home, is a triumph. The Lay of the Last Minstrel, Rob Roy and Scott’s diary of his lighthouse tour are each evocative of turning points in contemporary culture, and of Scott’s fame and fortune. Emerging from private ownership after so many years, it is heart warming to know they will be available for the public to enjoy at long last,” he said.

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Original manuscript of Rob Roy by Sir Walter Scott Photo courtesy of Sotheby’s

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Living

Escape to the

Orkney isles By Scott Aitken

iving on an island, surrounded by spectacular scenery and good neighbours, is a dream of many people, but now there’s a chance to turn fantasy into reality. Residents of Shapinsay, the eighth largest of the Orkney islands, are looking for some new blood to join them and keep the community thriving. The Shapinsay Development Trust is hoping to attract a family with two or more young children so they can maintain the student roll level and keep the local school staffed with two teachers. Shapinsay has been very fortunate to see so many great families make use of the school. Over the years, a fantastic relationship

between families and the teaching staff has developed. The school received a glowing inspector’s report in 2015 for the use of innovative practices that Education Scotland would like to see used in other schools. It also earned a Gold award from SportScotland in 2018 for its commitment to sports. “Shapinsay School provides a small school experience, but with big opportunities. We have small numbers in our classes, and we strive to give every child an individual experience, according to their needs. We encourage the children to become independent thinkers who are able to take real responsibility,” said Emma Clements, Head Teacher.

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Fields near Sholtoquoy Photo by by Ian Balcombe CC BY-SA 2.0

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No 9, Shapinsay is available for a new family to rent

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“Children take part in pupil groups which set their own targets, and make a difference to the life of the school. Children of all ages also get opportunities to work together, which means that the school has a family atmosphere. “More children attending the school would mean that it is able to retain two primary classes going forward. The school is a big part of the community, taking part in community events. In turn, the community supports the school in many different ways. “New children and families coming to the school help the children to make new friendships

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and to learn about different places. New families are included in the life of the school and the community.” To help potential arrivals settle into island life the Trust is offering a traditional Orcadian threebedroom house in the heart of the main village for rent for only £500 per month. The property, known as Number 9, has very recently been modernised to a high standard on the inside. Using a grant from the Green Homes fund, the trust has been able to put in double glazing, high quality insulation and efficient air source heating.

Shapinsay has all the benefits of island life with plenty of space, a strong community and incredible scenery that can only be found on an island. The island’s 300-or-so inhabitants, less than a third of its peak population of 974 in 1881, have created a strong and supportive community which comes together for many annual events, from Ceilidhs and dances to bingo, coffee afternoons, drawing clubs, film clubs and much more. The big event of the year is the annual agricultural show held every August. Although little more than 11 square miles the island is just 25 minutes away by ferry from the Orkney mainland. After 6pm the Shapinsay Development Trust runs a small boat service to allow for all the benefits of living on the mainland, with all the tranquility and sense of community that comes with staying on a small island.

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Chambered cairn, Helliar Holm Photo by Derek Mayes CC BY-SA 2.0

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Mor Stein standing stone Photo by Otter CC BY-SA 1.0

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Burroughston Broch nterior from the south Photo by Otter CC BY-SA 1.0

Shapinsay has all the basic services you would expect, such as a school, doctor’s surgery, healthy living centre, community centre, post office and a well-stocked local shop selling everything from petrol to groceries. All of it within walking distance of the pier. The island boasts a range of historic sites, such as a standing stone which serves as a link to the people who lived on the island in Neolithic times, an Iron Age broch, a souterrain and a salt-water shower. It also has two nature reserves renowned for the variety of wildlife.

Burroughston Broch Photo by C Michael Hogan CC BY-SA 2.0

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Balfour Castle & Doocot on Shapinsay Photo by Ronnie Deas CC BY-SA 4.0

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Perhaps the best known landmark on the island is the iconic 18th century Baronial style Balfour Castle, designed by the celebrated Scottish architect David Bryce. The property stands on the site of the House of Sound, a previous prominent building created by Arthur Buchanan in 1674. The house later passed to James Fea, who married Buchanan’s granddaughter. Unfortunately Fea, who is best remembered for the capture of legendary Orkney pirate James Gow, was a Jacobite supporter during the failed 1715 uprising and the house was burned to the ground by vengeful Hanoverian troops as a result. The estate was eventually sold to the Balfour family in 1782. They built the present house and for the next two centuries were a major influence on the island, largely responsible for creating its thriving agricultural economy.

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Other notable figures to come from Shapinsay include William Irving, who was born around 1740 in the northeast of the island. He became a sailor before emigrating to New York in 1763 where one of his sons, Washington Irving became the first American author to gain international recognition with his stories of Rip van Winkle and The Legend of Sleepy Hollow. Shapinsay’s interesting past and current positive outlook bodes well for a thriving future for the island community as it seeks to grow. “We know there is a family out there who would be an ideal match and welcoming new children to the school would be a boost felt throughout our community,” said Lisa-Marie Muir, from the Shapinsay Development Trust.

“It may be that for some, the idea of moving to an island and adopting the unique lifestyle seems out of reach. But, with the way that people are working from home these days it really is easier than ever for someone to make the move. “Shapinsay is such a safe place to bring up your bairns, you never need to worry about where they are and what they are up to. They spend their summers in wetsuits, swimming at the pier or the beach, or cycling all over the island. In normal times, there’s always something for them to do during the winter - from football to badminton and youth club to climbing. Hopefully we will get back to that level of activity very soon!”

Execution of Gow, from Pirates of the Spanish Main series (N19) for Allen & Ginter Cigarettes Photo The Jefferson R. Burdick Collection, Gift of Jefferson R. Burdick CC0 1.0

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Celebrated American author Washington Irving’s father came from Shapinsay

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Shapinsay Photo Dr. Blofeld CC BY-SA 2.0

“We were so excited to see work completed on Number 9 and to be able to let it. We would be over-the-moon to find the right people to make it their home.” Shapinsay Development Trust bought the house along with another property and renovated them to a high standard, as part of their five-year development plan to create affordable housing on the island. The house has two living rooms, an enclosed yard at the back of the house and a front garden with sea views. The school and the play park just a stone’s throw away. “The property really does offer the perfect opportunity for a family to have a true experience of island life, without the commitment of buying a new house,” said Serena Sutherland, of letting agents d and h.

Baled hay at North Hill Photo by Ian Balcombe CC BY-SA 2.0

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Antiques

Antique Hunting with… Roo Irvine

amous last words and new beginnings

nother year has flown by in the blink of an eye and as I look back on the last 12 months I can’t help but ponder what the future has in store.

my memories are punctuated with quite a few occasions when I’ve uttered a few ‘famous last words’ that have heralded new beginnings in my life.

As we get older it feels like somebody has pressed the turbo button and time passes much faster than we can comprehend. At times like these, as we welcome in the New Year, it pays to take a moment or two to remember what’s happened. For me, it was something of a shock to realise I’ve been flying the flag for antiques on television for five years already. When I look back

When, in April 2014, my husband and I opened our little antiques shop in the Argyll village of Kilcreggan I remember joking with him that “you never know, Antiques Road Trip might come and pay us a visit”. Of course it was said in jest as we both thought our shop was a little too compact for that kind of celebrity attention.

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Photos by Roo Irvine

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However, Antiques Road Trip did indeed visit, with the legendary Paul Laidlaw, in Autumn 2015. I remember all too well the butterflies in my tummy the morning they came to film. Back in the student days of my advertising degree nothing made me happier than giving presentations and, as an adult, I thoroughly enjoyed public speaking. But appearing in front of a camera, paired with a BBC 1 audience of around 3million viewers, was a whole different comfort zone. However, the day

came and went in a blur and I loved every second. The quiet that descended upon my little shipping container shop wasn’t welcome. I’d enjoyed the buzz, the banter and the excitement. I also felt proud that I’d got through those nerves and did what I had to do. As the television crew left part of me sighed and thought, “well there goes my five minutes of fame, back to manning the shop.”

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Prophetic ‘famous last words’ struck again when I jokingly said to my husband “just you wait, once this gets aired, Food Network will be calling.” For those of you that don’t know I’m a serial foodie and my fantasy at the time was to appear on the Food Network or Masterchef off the back of my five minutes as a shopkeeper on Antiques Road Trip. I know my dreams were in the clouds but my ambition was firmly rooted to the ground. Lo and behold I did get a call back. Only it wasn’t the Food

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Network but Antiques Road Trip asking if I’d like to be put forward to become an expert. Cue a summer of screen testing and selfdoubt before I got the loveliest Christmas present in December 2016. It was a yes from them and I was in! Come my first official filming day my nerves smothered my initial excitement. It took all my willpower to get out of bed at 6am that frosty spring morning but I thought to myself “the BBC have put their faith in me so I HAVE to do this!”

Fast-forward a few years and now I’ve filmed five series of Antiques Road Trip and I am about to embark on a sixth. I’ve also joined the Bargain Hunt team, as an expert initially and now a presenter. I’ve filmed a new series of Flipping Profit and also been a co-presenter for a food pilot alongside one of Scotland’s top chefs. I’ve cooked for 100 people in a

professional kitchen, courtesy of the lovely James Braxton, and done a theatre stage show where I just ‘talk’. Throw in some radio work and, most recently, appearances on Celebrity Mastermind and Pointless with a few more things in the pipeline, it’s been a bit of a whirlwind. Along the way I’ve visited some great places, enjoyed numerous experiences and met some amazing people.

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Each day my confidence and comfort has grown but the truth is I still feel like it all started yesterday and that I’m not really worthy of any of it. I don’t take anything for granted and can’t believe I got so lucky, somehow I’ve been granted a minor extension to those five minutes of fame I mentioned earlier. I really appreciate everything that’s happened and everyone who has given me their help and support. An important lesson I’ve learned is that hard graft only gets you so far, self belief and confidence is key to realising dreams. It’s important to listen to the voice inside your head that says: ”You can do this! You are doing this! You will do this!” I know first-hand that life has plans for us all. Whether it’s working with antiques, writing a book, opening an art gallery or learning Japanese believe in yourself and you can do it. Here’s to new beginnings and fresh adventures. Happy New Year everybody!

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Games

ringing medieval Aberdeen to life A

video game based on real historical records brings people face-to-face with life in Scotland during the Middle Ages Inspired by the events, descriptions and characters recorded in Aberdeen’s UNESCO-recognised Burgh Records, held by Aberdeen City & Aberdeenshire Archives, the game stems from research by University of Aberdeen historians. They have spent the past nine years painstakingly transcribing

the records and investigating what the earliest eight record volumes, which run to some 5,239 pages and are the best preserved of any in Scotland, can tell us about life from the end of the 14th century to the early 16th century. The records have plenty to say about how the town of Aberdeen dealt with the threat of the plague and the researchers used this as the basis for the game of interactive fiction, which they have named Strange Sickness.

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Photos courtesy of University of Aberdeen

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Players begin their journey in Aberdeen in 1498 as Robert Collison, a young member of Aberdeen’s Town Council. He faces a terrifying, exciting challenge when a deadly plague threatens his community. Strange Sickness was funded by a Kickstarter campaign which attracted global backing, and

development of the game was headed by historian Dr William Hepburn, who created the concept for the game and wrote the story. The game’s mechanics were designed by game developer Katharine Neil while the game’s visuals were created by artist Alana Bell.

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Dr Jackson Armstrong led the Burgh records research on which the game is based and was also directly involved in the making of the game. He said it had been amazing to see scenes from the pages of the manuscripts brought to life in an interactive format. “Video games are an amazing tool to help people imagine the

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past and the Burgh Records are an outstanding resource to help us understand life in the Middle Ages,” he added. “We’ve uncovered so much not just about the history of Aberdeen but about how the city interacted with other parts of Scotland and Europe.

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“This period of history has a rich tradition in influencing creative writing and media from The Lord of the Rings to A Game of Thrones. The Burgh Records provide us with real people, events and places upon which to build a fictional story. “We were overwhelmed by the enthusiasm for the game with our Kickstarter fundraising campaign backed by supporters around the world and we are delighted to have brought the game to fruition just a year later.” A website strangesickness.com launches in conjunction with the game providing a ‘historians’ commentary’ on the choices made in making the story, game world, and characters. “In much the same way as films are enhanced by a director’s commentary, we wanted to provide additional information without inhibiting the game play experience,” said Dr Armstrong.

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“As historians, showing how archives and records shaped the game, and the choices we made in using those sources is important to us and we want those who download it to be able to engage further with the characters and events that unfold.

“Much of this is drawn from what is actually contained within the Burgh Records but it is important to understand the intersection between what can be known with certainty and what is imagined based on available information.

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“The Burgh Records offer so much in terms of our understanding of gender roles and other social issues during this period and William, Katharine and Alana have used this to build immersive visuals and a great narrative.

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“We hope people will enjoy the video game experience and that it can showcase not only life in the Middle Ages but the creative potential still alive in the Burgh Records more than 600 years after they were first created.”

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Profits raised from the first year of sales of Strange Sickness will be split equally between the Lord Provost’s Charitable Trust and vaccinaid.org, a UNICEF initiative to deliver Covid-19 vaccinations to the most at-risk people around the world. “The amazing work that has been undertaken on the city’s records over the past decade means that we now have a much deeper understanding of what life in medieval Aberdeen was like,” said Phil Astley, City Archivist. “Strange Sickness will help bring this world to an even wider audience. It will be a great way to engage with, and learn more about, this fascinating period.” Strange Sickness can be purchased at https://commonprofyt-games.itch.io/strangesickness

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Food & Beverage

Chef in a kilt with… Gordon Howe

aggis, pheasant and whisky sauce “Fair fa’ your honest, sonsie face, Great chieftain o’ the puddingrace! Aboon them a’ ye tak your place,” - Address to a Haggis By Robert Burns, 1786

aggis, tatties with neeps and sliced roast Scottish Highland pheasant breast with Scottish whisky gravy is a delicious alternative to the usual Burns’ Night menu. Using the ingredients of Scotlands National dish haggis, tatties and neeps this variation is served with a delicious roasted pheasant from

the Scottish Highlands - a pairing made for sharing. For those unfamiliar with this popular delicacy haggis, tatties (potatoes) and neeps (swede/ turnip) has long since been regarded as Scotland’s National dish and enjoyed for hundreds of years.

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Photos by Gordon Howe

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However, its popularity and international fame owes much to the talent of another Scottish favourite, the nation’s most famous poet , Robert Burns and his “Address to a Haggis” written in 1786 and recited at thousands of suppers every year around the world since. History would tell us there are various origins of the haggis, such as those easy to carry meals made for Scottish cattle drovers taking livestock from the Highlands to markets in Edinburgh. Drovers enjoyed food rations their women made. They would pack food, usually animal offal as it was a cheap staple diet, into a sheep’s stomach for the journey. Chieftains or Lairds would order sheep or cattle slaughtered and the offal was given to the workmen as payment for their service.

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My favourite tale, albeit a folklore joke, tells of a creature “The Haggis” as a mythical animal with two legs on one side longer than the other so it could roam the slopes of the Highlands. In reality, this cheap peasant dish that evolved over generations to become the deliciously seasoned savoury pudding that we know today as Haggis. It’s a versatile dish that can be eaten in various forms, including deep fried in batter, sliced for breakfast or in an Indian batter as pakora. My delicious alternative to the traditional haggis, tatties and neeps is great for using up spare haggis, making from fresh or just something that is just a little bit different. Plate it simply, pour on the gravy and enjoy real Scottish comfort food.

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Why pheasant? Pheasant is a delicious game bird fit for any table or occasion. Pheasants are a sustainable and delicious meal. They can be bought as whole birds for roasting or casseroling or as breast fillets for quicker cooking. I chose it as part of this dish for its taste, texture and, flavour aside, being healthy to eat. When compared to chicken, domestic turkey or beef pheasant is lower in total fat, saturated fat and cholesterol. Another reason I chose pheasant for this recipe is that 75 per cent of the meat on the bird is on the breasts and reasonably priced. Buying the whole bird will give you the pleasure of making a thick stock or simply gnawing on a bone. Again adding to the cost effective nature of this dish. Serve with oat cakes and a nice dram of your favourite whisky

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The Recipe Prep time 35 mins Cooking time 1 hr 35 mins Serves 4 Ingredients 1 fresh pheasant (800g) haggis (200g) 1 medium turnip (swede) peeled and medium diced 6 medium potatoes ( I use Albert Bartlett), peeled and chopped into equal chunks. 4 medium carrots, cleaned and chopped in large chunks 1 large onion peeled and chopped into large chunks I medium parsnip cleaned and chopped into large chunks Sea salt Cracked black peeper 1/2 tsp cinnamon

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Whisky gravy ingredients Deglazed roast pan juice sieved (200mls) 200 mls chicken stock 60 mls whisky of your choice (I used the Jack and Victor blended Scotch whisky from Loch Lomond Distillery) 1 tsp single cream Large knob of Orkney Butter 1/2 tsp cracked black pepper Heavy pinch of sea salt Sea salt 1/3 tsp ground nutmeg Cracked black pepper Combine all the ingredients, bring to the boil then reduce by 1/3 and simmer on low heat until serving.

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Method Clean and chop the carrots, parsnip and onion place in a heavy bottomed oven dish with the beef bones. Season with salt, pepper and sprinkle a good heavy pinch of ground cinnamon. Drizzle with Scottish Rapeseed oil. Roast the pheasant, preheat the oven to 190C/375F/Gas 5. Cook uncovered for 35 minute until soft and dark coloured. Add 300mls of hot water. Cover with foil and return to the oven for another 30 mins. Remove from the oven and strain into a heavy based saucepan. Place over a high heat and bring to the boil, add whisky and 50 ml of single cream and large knob of Orkney butter. Lower to a medium heat until it is reduced by half and thickens, and keep warm. On a medium heat, in a ovenproof oven pan, heat the rapeseed oil and the Orkney butter until foaming. Lay the pheasants in the pan, cook until golden-brown in colour 4/5 minutes leg side down. Then turn over the pheasants onto the breast side for a further 3 minutes.

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Add the Carrot, Parsnip and Onion. Season with sea salt and crushed black pepper and sprinkle over ground cinnamon, place in the oven and cook for 25 minutes, turn halfway through cooking time and then add the hot chicken stock. When the pheasant is cooked, (use a meat thermometer) the breast temperature for a cock pheasant should reach 63C/145F, a hen pheasant 60C/140F. When cooked pour the pan juice into a saucepan, then cover to rest. Once you have turned the pheasant place the broken up haggis in an oven dish and cover with foil. Cook until the pheasant is removed. Once the pheasant is in the oven. Peel and cut the potatoes into equal chunks and cook in salted water until a fork slides into them easily. Strain in a colander and allow to steam dry approx 20 mins Add 1 tbs Orkney butter and 60ml single cream. season with salt to taste. Mash coarsely then fold in the roughly broken up haggis. Peel, and chop the turnip into small to medium cubes. Strain and allow to steam dry, it should take about 15 minutes. Rest and keep warm. After resting, slice the pheasant breasts and divide in stacks between the plates. Place a large quenelle of mash on the plate with a small mound of neeps. Pour the gravy between the mash, neeps and pheasant before sprinkling lightly with Na Mara Seaweed and serve immediately.

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Folklore

Folklore Scotland with… Graeme Johncock

he Legend of Eilean Donan Castle T

he iconic Eilean Donan Castle is an instantly recognisable symbol of Scotland. The fortress sits at the point where three sea lochs connect and has seen its fair share of action over the last 800 years. Of all the stories the walls of Eilean Donan have gathered over the years, the most fascinating surrounds the castle’s founder. An ancient Scottish legend claimed that any newborn child

who took their first drink from the skull of a raven would be granted mysterious powers. A clan chief from Kintail didn’t believe in these kinds of superstitions, he was determined to prove it was nonsense. The chief’s baby son was fed his first milk from the tiny skull and for years nothing seemed out of the ordinary. Imagine the father’s surprise when the boy began to speak with birds.

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Eilean Donan Castle Photo by Graeme Johncock

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Northwest Highlands Photo by Graeme Johncock

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The chief refused to admit he had been wrong after bragging about proving the legend false. In his stubbornness trying to ignore the boy’s gift, he drove his son further and further away. One day, the flocks screeching around the great hall were far louder than usual. Incensed, the chief finally demanded to know what the birds were saying. The son knew his father wouldn’t like the answer but he translated the message anyway. They were repeating a prophecy about the chief, that one day the roles would be reversed. The father would serve his son in this very hall. The furious chief threw his son out, telling him never to return.

Eilean Donan Keep Photo by Graeme Johncock

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Slipway in Kintail Photo by Graeme Johncock

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Loch Carron Photo by Graeme Johncock

He was devastated, but the young man travelled from Kintail to continental Europe in search of a purpose. Using his gift he made a name for himself and was handsomely rewarded for his deeds. He found the French King in despair over noisy sparrows tormenting his court. The Scot negotiated a peace among the birds and, in return, the King gifted him a large ship with a loyal crew. The next problem he faced was a castle plagued by rats. The birds couldn’t help him but he left behind his ship’s cat instead. The grateful lord of the castle handed over a chest full of gold in exchange.

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Years passed, and the chief’s son became a wealthy and powerful man. When he eventually returned to his father’s home in Kintail he bore little resemblance to the scared young boy who had been cast out. The old chieftain rushed to welcome this rich, and no doubt influential, arrival without any idea who he really was. Serving his distinguished guest with food and drink the chief fulfilled the prophecy that he had been so enraged by. When the visitor revealed his identity his father wasn’t angry anymore. He finally had his son back and that was all that mattered. The news of the chief’s son had spread and he was summoned to the Royal Court. The King of Scots was impressed by both the wisdom the man had gathered and his special gift. He was ordered to defend Kintail from the encroaching Norwegian raiders by building a strong fortress right here at Eilean Donan.

Sunrise Over Kintail Photo by Graeme Johncock

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Eilean Donan Castle Bridge Photo by Graeme Johncock

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Antiques

Rare collection of 17th century Scottish silver

wo exceptionally rare and historic drinking vessels, along with the the only known surviving ceremonial trumpet in Scotland, have been gifted to the nation.

National Museums Scotland have acquired the trio of exceptionally rare silver objects created in Scotland in the 1600s.

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The quaich, trumpet bell and mazer are important examples of 17th century Scottish craftsmanship and have been

donated to the National Collections by Ron and Rosemary Haggarty.

Three 17th century silver objects gifted to National Museums Scotland Photo © Phil Wilkinson

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The silver quaich is an item of 17th century luxury, elaborately engraved with tulips and exotic birds. It is one of the finest remaining pieces by skilled

Aberdeen goldsmith William Scott and its diminutive size suggests that it was used to share potent beverages such as whisky or sherry.

Lyndsay McGill, Curator of Renaissance and Early Modern History at National Museums Scotland, holds the 17th century Scottish silver quaich Photo © Phil Wilkinson

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The Bell of Cowcaddens Mazer is the earliest of the three silver items, made in Edinburgh c.161315. Mazers were also once popular communal drinking vessels but only nine Scottish examples are known to survive and just two made entirely from silver. The Cowcaddens Mazer was owned by the Provost of Glasgow and would have been passed from person to person to secure bonds of friendship and political alliances.

Once mistakenly identified as the neck of a silver vase, the silver trumpet bell is now known to be the only surviving section of a long ceremonial trumpet. This particular example is engraved with the coat of arms of the Cassillis family from Ayrshire and would have been used during state and civic rituals. It is one of just three Scottish trumpets from the 1600s still in existence.

Lyndsay McGill, Curator of Renaissance and Early Modern History at National Museums Scotland, with three 17th century silver objects Photo © Phil Wilkinson

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“Scottish marked silver from the 1600s is scarce, especially examples of this quality,” said Lyndsay McGill, Curator of Renaissance & Early Modern Scottish History at National Museums Scotland. “These objects are hugely significant, representing the capability and skill of Scottish silversmiths and revealing more about a fascinating period in Scottish history. We are delighted to accept this gift and thank both Rosemary Haggarty and her late husband Ron for their remarkable

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contribution to the National Collections.” On long-term loan to National Museums Scotland since 2004, individual objects from this outstanding collection of Scottish silver have featured in exhibitions, publications, lectures, and workshops. Now secured for the nation through this generous gift, it will be possible to conduct more research into their intriguing design and ownership.

Lyndsay McGill, Curator of Renaissance and Early Modern History at National Museums Scotland, with the 17th century silver objects. Gifted to the museum Photo © Phil Wilkinson

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History

Preserving historic links to Marie de Guise, mother of Mary Queen of Scots

series of oak armorial panels from a house inhabited by Mary Queen of Scots’s mother, Marie de Guise, Regent of Scotland and wife of James V, have been acquired and conserved by National Museums Scotland. The four roundels are said to have come from a house in Blyth’s Close, just off Lawnmarket and the High Street in the heart of Edinburgh’s Old Town, where Marie de Guise lived from around 1543 to 1554.

Marie de Guise Armorial Panel Photo: National Museums Scotland

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The house of James Mossman, goldsmith to Mary, Queen of Scots better known as John Knox house gives an idea of what the Blyth’s Close house was like Photo Kim Traynor CC BY-SA 3.0

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Mary, Queen of Scots

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Although she would have had her own apartments inside Edinburgh castle and at Holyrood Palace it’s believed she used the address as a less formal location to meet with friends and associates from the nobility and elite throughout the 1540s and 1550s As befitting a queen the house, its decorations and furniture was of a very high standard and the four

roundels each bear testament to the property’s royal connections and demonstrate the owner’s relationships with powerful people. One of the roundels carries the combined coats of arms of James and Marie, later used by their daughter Mary Queen of Scots herself.

Linlithgow Palace where Mary, Queen of Scots was born Photo by VictorPaulK CC BY-SA 4.0

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Mary of Guise by Corneille de Lyon

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Mary Queen of Scots was born at Linlithgow Palace on 8 December 1542. Her father, James V, died a mere six days later, leaving her mother, Marie de Guise to safeguard her future. Her parents had married in June 1538 at St Andrews Cathedral, in a liaison intended to secure the ‘auld alliance’ of Scotland with France against England and Henry VIII. One of the roundels features imagery designed to reflect the marital union symbolised by the impaled arms of James V, the rampant Scottish lion, and Marie de Guise, as duchess of Longueville, surmounted by a crown.

King James V of Scotland

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Another features the crowned fleur de lis of Henri II, king of France from 1547 to 1559, who had helped to orchestrate Marie’s marriage with James, while the third carries the arms of James Hamilton, Duke of Châtellerault and second earl of Arran, a descendant of King James II, who acted as Regent of Scotland from 1543 to 1554. The final one bears the arms of the City of Edinburgh with a three-towered castle and laurel wreath supported on the right by a female deer and on the left by a maiden, representing an old name for Edinburgh - ‘Castle of the Maidens’. The roundels are lucky to have survived as the rest of the building was demolished in 1846, having fallen into disrepair and used as a home for a variety of tenants in varying degrees of poverty.

James Hamilton, Earl of Arran

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King Henry II of France by Studio of François Clouet

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Conservator Gemma Frew works on an Armorial panel associated with Marie de Guise Photo: National Museums Scotland

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In the 1820s, alerted to the state of the house, Charles Kilpatrick Sharpe, a renowned collector, bought some of the interiors of the house from the tenants, including the four roundels. When he died the Due of Sutherland acquired the roundels to decorate the library at Dunrobin Castle where they remained until the National Museums of Scotland bought them during a sale of the castle contents. “These armorial panels are a fantastic addition to the National Collections,” said Dr Anna Groundwater, Principal Curator, Renaissance and Early Modern History at National Museums Scotland.

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“We are very pleased to have been able to acquire them and look forward to putting them on public display in the future. They are important pieces in their own right, and complement our existing collection of material associated with Marie de Guise already on display. We are particularly pleased to add these marital coat of arms of Mary, Queen of Scots’ parents.” These roundels join other significant decorative objects associated with Scotland’s Queen Regent already in National Museums Scotland’s collections, including carved oak doors salvaged from the same house when it was demolished, as well as sixteen oak medallion panels.

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Portrait of King James V and Queen Mary Photo: National Trust for Scotland, Falkland Palace

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Active Scotland

remier for Cairngorms fitness festival

Olympic gold medallist Amy Williams in action

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lympians, fitness professionals and television celebrities are among the speakers at an exclusive new wellbeing festival to be held in the heart of the Cairngorms National Park. Jay Morton, star of Channel 4’s SAS: Who Dares Wins, will join actress, radio presenter and fitness author Gemma Atkinson and Olympic gold medallist Amy Williams at the inaugural Fitnessat58o Wellness Festival, which takes place in Aviemore on March 5, 2022. The star-studded event will feature HIT workouts led by Atkinson and Williams, as well motivational sessions, seminars, workshops and live Q&As where attendees will be able to put their questions to the professionals – including SAS veteran Morton.

Gemma Atkinson, actress, radio presenter and fitness author will be at the festival

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VIP tickets will also allow attendees the chance to rub shoulders with the stars at exclusive meet and greet sessions throughout the day. The festival is the idea of Team GB biathlete and Fitnessat58o founder, Sam Cairns, who has been running fitness and wellbeing retreats across the UK and abroad for five years. “I’m so excited to be bringing such an inspiring line-up of fitness and wellbeing superstars to Aviemore in March for what promises to be an inspiring and uplifting festival,” he said.

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Team GB biathlete and Fitnessat58o founder Sam Cairns is launching the Wellness Festival in Aviemore in March 2022

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Running ambassador Ashley BrooksAshley Brooks will be at the festival

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“We’ve put together the programme to provide a positive and uplifting environment for all attendees, to inspire everyone to become a better version of themselves – both physically and mentally. Our guests have lived through some incredible experiences, and can’t wait to share them with everyone in the spring. “There’s never been an event like this held against the stunning backdrop of the Cairngorms – so this truly is a unique opportunity for anyone looking for some wellbeing inspiration. Plus, events like this often have tens of thousands of attendees – but we’ve purposefully capped numbers so that everyone gets the full benefit of each and every session.”

Personal trainer Ian Findlay is part of the top lineup

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The Fitnessat58o Wellness Festival takes place at the Macdonald Aviemore Resort in the heart of the Cairngorms National Park on March 5, 2022. All tickets include access to all talks, workshops, workouts and seminars throughout the festival – with entry also available to the evening afterparty. VIP passes – limited to just 50 – also include lunch and meet-and-greets with celebrity guests.

Fitness influencer Stefanie Moir is one fo the top names headlining the festival

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View from the Lecht on the road from Tomintoul to Braemar Photo by Kenny Lam / VisitScotland

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Arts

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vision of the future that could impact all of us have been revealed in a series of art works designed to inspire positive and sustainable climate change action. The shortlist of finalists for the Visions of Climate Heritage competition, where members of the public can help tell Scotland’s climate story, has been revealed. Striking landscape photography, detailed sketches and evocative paintings are among the entries that have been shortlisted for

the Visions of Climate Heritage competition. Capturing scenes of environmental degradation, pollution, changing landscapes and extreme weather, the finalists across the categories including Best Photograph, Best Mobile Photograph, Best Artwork, and the Young Creative Awards, all showcase the wide-reaching impacts of and solutions to climate change in Scotland.

Gardenstown - John Carroll (The Past Was A Different Place)

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Visions of Climate Heritage, which was launched to coincide with COP26, has been developed by HES in partnership with the Heritage Trust Network and the Scottish Council on Archives in response to the climate emergency.

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The panel of judges who will determine the winners include Katharine Hayhoe, the internationally renowned climate scientist and one of TIME’s 100 Most Influential People; Phil Astley, the City Archivist for Aberdeen City and Aberdeenshire

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Oh for a drop of rain - John Cuthbert (The Past was a Different Place)

Archives; Beverley Gormley, Programme Manager for the Heritage Trust Network; Dr David Mitchell, Director of Conservation for HES; and a representative from the HistoricScot Youth Forum. As part of the competition HES

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has created a crowdsourced online exhibition of photography and artwork, to help tell Scotland’s climate – past, present and future – with the aim to harness the power of Scotland’s historic environment and cultural heritage to inspire climate action.

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This is an Emergency - Gemma Lubbock (This Is An Emergency)

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Silver Sands - Connor Draycott (This Is An Emergency)

The exhibitions are split into the competition’s three themes: ‘The past was a different Place’; ‘This is an Emergency’; or ‘A Greener Future’ and can all be viewed on the HES website

Alison Turnbull, Director of External Relations and Partnership at HES, congratulated all of the finalists and expressed the importance of the competition in raising awareness of the task ahead for us all. “We had a range of fantastic submissions and are delighted that so many people took the opportunity to help us tell Scotland’s climate story in unique ways,” she said.

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A glimpse to the future - Magdalena Kaminska (This Is An Emergency)

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“Through our Visions of Climate Heritage competition and exhibition, we can see the power that our history and heritage have to unlock creativity and get us thinking about climate change issues in a different way. The images that form this exhibition will also become an important resource for telling our continuing climate story, helping to inspire the positive and sustainable change required on our journey to net-zero.” The judging for Visions of Climate Heritage will take place in the New Year and the winners will be announced later this month.

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Contenders The full shortlist for the categories Best Artwork, Best Photograph and Best Mobile Photograph of the Visions of Climate Heritage Competition ( in no particular order ):

Best Artwork

‘For the next generations’ Layla Karic ‘Land use in the Outer Hebrides’ Julia Clough ‘Save My Planet This is My Earth’ Ojo Moses ‘Silver Sands’ Connor Draycott ‘Sodmound Maiden’ Kathy Bruce ‘Transitory landscape Wh Ruins Grow’ Kathy Bruce ‘The Uninvited Guest - Bean Nighe’ Sandy Lightbody ‘This is an Emergency’ Gemma Lubbock

Best photograph ‘A glimpse to the future’ Magdalena Kaminska ‘A grim perspective’ Iain McLachlan ‘A tiny planet’ Iain McLachlan ‘Abandoned Fishing Boats’ William McLachlan ‘Cockenzie No More’ Craig Buchan ‘Flood’ Iain McLachlan ‘Gardenstown’ John Carroll ‘Juxtaposition’ Gordon Elliott ‘Last ice on Lake of Menteith’ Neil Kitching ‘Look what I found’ (Beaching Combing Before Plastic, 1959) John Wilson ‘Oh for a drop of rain’ John Cuthbert ‘Past and present, harvesting energy’ John Wilson ‘The way it was’ Tom Campbell ‘Time to move on’ Phil McIntosh

Best mobile photograph ‘A shop too far’ Carson Haggart ‘Dunure Harbour’ Rebecca Cadie ‘Healing Nature’ Anya Hutchinson ‘Industrial cloud reflections’ Elaine McGregor ‘Our fish are made of plastic’ Morgan James ‘Raging water’ Maria Hendry ‘Streets were for People’ Martin Laird ‘Sunset for Broughty Castle’ Colin Tennant ‘The Repair after the storm’ Tor Baldorf Pirso ‘Waiting for the Last Bus’ Sandy Lightbody ‘Water Park’ Keith Wilson ‘Waves crash at Skara Brae’ Kerry Harris

The full gallery of the shortlisted artwork is available to view HERE

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Days Out

xploring dinburgh’s exhibitions

ature, science and murder are all on show at the National Museums of Scotland in Chambers Street, Edinburgh this year. A variety of current and forthcoming exhibitions provide some unique insights into the worlds of ornithology, anatomy, technology, literature and crime. Starting on 12 February, and running until 8 May, the National Museum of Scotland has a new exhibition examining the artistry and legacy of one of the world’s rarest, most coveted and biggest books.

A print depicting Purple Finches from Birds of America by John James Audubon Image © National Museums Scotland

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Snowy Owls from Birds of America by John James Audubon Image © National Museums Scotland

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A White Throated Sparrow from Birds of America by John James Audubon Image © National Museums Scotland

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Published as a series between 1827 and 1838, Birds of America by John James Audubon (1785-1851) was a landmark work which achieved international renown due to the epic scale of the project and the book’s spectacular, life-sized ornithological illustrations. Audubon’s Birds of America will showcase 46 unbound prints from National Museums Scotland’s collection, most of which have never been on display before, as well as a rare bound volume of the book, on loan from the Mitchell Library. This exhibition is a unique opportunity to see so much of Audubon’s work in one place. When Birds of America was published it featured 435 lifesize, hand-coloured prints but at almost one metre high very few complete volumes remain to this day.

Brasilian Caracara Eagles from Birds of America by John James Audubon Image © National Museums Scotland

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A Baltimore Oriole from Birds of America by John James Audubon Image © National Museums Scotland

Although Audubon died more than 170 years ago, aged 65 on 27 January 1851, he remains a controversial figure. Many of his practises were criticised by the naturalist community and he profited from the ownership of enslaved people during his lifetime.

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However, the book he created stands as a reminder of the beauty and fragility of our natural environment, featuring paintings of at least five now-extinct birds. The exhibition will consider both Audubon’s complex and problematic story, as well as the conservation lessons that can be learned from his unprecedented publication.

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Carolina Parrots from Birds of America by John James Audubon Image © National Museums Scotland

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1610 Etching of the anatomy theatre at the University of Leiden by Willem van Swanenburg Image © Royal College of Physicians

Later in the year the artistic creations of Leonardo da Vinci and legacy of notorious murderers Burke and Hare are to appear side by side in a new exhibition exploring the history of anatomical study ‘Anatomy: A Matter of Death and Life’ will run from 1 July until 13 November to examine the social and medical history surrounding the practice of dissection. It

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will also trace the relationship between anatomy, its teaching and cultural context and the bodies that were dissected. The aim is to provide a unique insight into the role of Scotland’s capital as an international centre for medical study alongside a deep dive into the darker links between science and crime in the early 19th century.

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Tabulae sceleti et musculorum corporis humani, Bernhard Siegfried Albinus Image: Wellcome Collection

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The bones of the foot and shoulder by Leonardo da Vinci Image: Royal Collection Trust © Her Majesty Queen Elizabeth II 2021

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Covering more than 500 years of medical exploration the exhibition features early examples of anatomical art, including sketches by Leonardo da Vinci, lent by Her Majesty The Queen from the Royal Collection. Visitors will learn about the search for understanding about the human body and anatomy helped develop medical knowledge across Europe.    However, beneath the veneer of civilisation and enlightenment the search for knowledge in 18th century Edinburgh was mired in the dark arts of grave robbing and murder.

The veins and muscles of the arm by Leonardo da Vinci Image: Royal Collection Trust © Her Majesty Queen Elizabeth II 2021

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Leech jar and lid of white glazed earthenware Photo © National Museums Scotland

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As demand for bodies to dissect and study vastly outstripped legitimate supply a black market in fresh cadavers stolen from unprotected graves flourished. In 1828, William Burke and William and Margaret Hare were accused of killing 16 people from the poverty stricken slums of Edinburgh and selling the bodies to an anatomist for dissection. This new exhibition examines the circumstances that gave rise to the murders as it unpicks the relationship between science and deprivation as well as the public reaction to the crimes. Among the objects on display there is a ‘mort safe’ - a heavy iron box placed over a coffin to deter would-be body snatchers; a full-body anatomical model by pioneering model maker Louis Auzoux; groundbreaking casts of body parts; William Burke’s skeleton, written confession and the infamous Arthur’s Seat miniature coffins.

Skeleton of notorious murderer William Burke Image © Anatomical Museum collection, University of Edinburgh

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Discovered in 1836 in a small cave on the north-east slopes of Edinburgh’s Arthur’s Seat 17 miniature coffins containing little

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wooden dolls these mysterious objects continue to baffle and bemuse.

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Eight of these coffins survive and are on display in the National Museum of Scotland but who

made them and why remains a puzzle. Although there are numerous theories.

Collection of miniature coffins with lids and carved figures found in 1836 Photo © National Museums Scotland

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On a slightly less macabre note there is also still time to see the museum’s marvellous showcase highlighting ‘The Typewriter Revolution’. On display until 17 April the exhibition reveals the social and

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technological influence of the humble typewriter as it looks at the machine’s revolutionary role in society, arts, and popular culture. It traces the effect and evolution of typewriters across more than 100 years, from weighty early machines to modern style icons.

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PhD student James Inglis with two of the typewriters featured in the exhibition Photo © Neil Hanna

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The impact of the typewriter has been much wider than simply speeding up the way people write. It helped revolutionise the world of work and change the lives of working women in

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particular. Typewriters helped them launch their own businesses at a time when female employers were rare and became a vital weapon in the fight for the vote.

Lambert typewriter c. 1900-1904

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Sholes and Glidden typewriter c. 1875

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Maskelyne No. 3 typewriter

Despite being erased from many offices by the rise of computers, the typewriter has remained a beloved design icon that is still in use today. The exhibition features a range of machines, including an 1876 Sholes and Glidden typewriter which was the first to have a QWERTY keyboard; a 1950s electric machine used by Whisky Galore author Sir Compton Mackenzie; and the 1970s design icon, the Olivetti Valentine.

Maskelyne No. 3 typewriter

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Sporran clasp of brass and steel with four concealed pistols, probably the model for that worn by Rob Roy in the novel by Sir Walter Scott published in 1818

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Pair of gilt brass rowel spurs worn by Auld Wat Scott of Harden

Equally, anyone interested in the life and work of one of Scotland’s greatest literary heroes - Sir Walter Scott - better get a move on as time is running out. There are only a few days left to see “Inspiring Walter Scott’ as the exhibition is due to close on 9 January. Originally opened last August to mark the 250th anniversary of Sir Walter Scott’s birth, to give visitors a chance to experience his novels through objects that inspired him, this small exhibition shows how Scott drew upon real historical objects for inspiration. It placed objects alongside Scott’s words and the stories in which they feature.

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Antiques

alloway hoard yields an exciting secret A

rare rock crystal jar found wrapped in textiles as part of a collection of rare and unique Viking-age objects unearthed in southern Scotland has revealed it was initially made for a bishop named Hyguald. Most of the famous Galloway Hoard is currently on display at Kirkcudbright Galleries until July this year. However, some material which was wrapped in extremely fragile, rarely surviving textiles, is undergoing careful conservation and meticulous research behind the scenes as part of a three-year, £1million Arts and Humanities Research Council-funded project

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led by National Museums Scotland in partnership with the University of Glasgow. It was during this delicate work that the Latin inscription written in gold was found on the jar. When first removed as a bundle the jar could be only partially glimpsed through its textile wrapping. But, 3D X-ray imaging produced in partnership with the British Museum allowed the object to be investigated within its wrapping without damaging it. This revealed that the base had an inscription.

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Rock crystal jar from The Galloway Hoard Photo by Neil Hanna

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The jar, which is around 5cm high and resembles an ornate perfume bottle, is thought to have had an ecclesiastical function. It has now been carefully separated from its wrapping. The Latin inscription on the base, spelled out in gold letters, translates as ‘Bishop Hyguald had me made.’ It is the clearest evidence that some of the material in the hoard may have come from a church in the AngloSaxon kingdom of Northumbria, which included Dumfries and Galloway, and stretched as far north as Edinburgh and as far south as Sheffield. “The inscription is in Latin, which was the universal language of

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the Western Church in those days,” said Professor Alex Woolf, Senior Lecturer at the University of St Andrews. “The sources and records of the period are incomplete, but what we do know from them is that there were several ecclesiastics in early Medieval Northumbria with the name Hyguald. We don’t know of a Bishop Hyguald, specifically, but our lists of Northumbrian bishops are incomplete after 810. It is accordingly – and frustratingly – difficult to be more precise but it may well be that what we’re looking at is an otherwise undocumented mid-9th century bishop of either Whithorn or Hexham.”

Base of rock crystal jar from the Galloway Hoard Photo by Neil Hanna

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The Galloway Hoard is the richest collection of rare and unique Viking-age objects ever found in Britain or Ireland. It was discovered in 2014 and acquired by National Museums Scotland in 2017 with the support of the National Heritage Memorial Fund, Art Fund and the Scottish Government as well as a major public fundraising campaign. Since then, it has been undergoing extensive conservation and research at the National Museums Collection Centre in Edinburgh. “It looks, from the carved surface of the Galloway Hoard rock crystal, that this was once the capital of a Corinthian-style crystal column,” said Dr Martin Goldberg, Principal Curator, Medieval Archaeology & History, National Museums Scotland.

The rock crystal jar unwrapped prior to final cleaning Photo by National Museums Scotland

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Pre-conservation image of the rock crystal jar from the Galloway Hoard Photo by National Museums Scotland

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“This is unique in early medieval Britain but there are parallels within the Roman Empire for objects of this type. The ones that I have seen are in the Vatican collection, where there are different forms of carved crystal columns. And so it was maybe 500 years old by the time it was transformed in the late 8th or early 9th century into a gold-wrapped jar.” Dr Leslie Webster, former Keeper of Britain, Prehistory and Europe at the British Museum, said: “Rock crystal is unusual in itself. It is one of those materials that was greatly prized in the antique world, for its transparency and translucency, and so it’s associated with purity. So it was, I think even in its time, very, very special. And you can see from the way that the gold almost enshrines it, it’s made into a sort of relic. It’s a showcasing piece from a very high-status workshop, such as one that you might expect a bishop to have in one of his monasteries.

Actual size of the rock crystal jar from the Galloway Hoard Photo by Neil Hanna

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“This object is absolutely fascinating. I’ve seen a lot of Anglo-Saxon finds over the years in my professional career, some of them amazing. But this absolutely knocks them all into a cocked hat.” The exhibition, Galloway Hoard: Viking-age Treasure runs at Kirkcudbright Galleries until 10 July 2022 and will tour thereafter to Aberdeen Art Gallery (30 July to 23 October 2022). The Hoard will eventually go on long-term display at the National Museum of Scotland in Edinburgh with a significant and representative portion of it also displayed long-term at Kirkcudbright Galleries.

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Tiny but extremely valuable the rock crystal jar Photo Neil Hanna

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Reader’s Lives

est to Inverchaolain I

n the November issue of Discover Scotland magazine we carried a feature about Argyll Walks and a stroll over the forgotten Stoneymollan Coffin road by Loch Lomond, from Balloch to Cardross, in the company of expert guide Gerena Sumen. A number of people contacted us to say how much they enjoyed the article [link below] but one reader went even further. We were especially flattered to discover that Martin Goldie liked it so much he was moved to write a poem.

https://issuu.com/scotland correspondent/docs/discover_ scotland_issue_59/12?ff=true Photo by Stewart Cunningham

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While walking to the summit of the Graham Cruach nan Capull near his home in Cowal he followed part of the Coffin Route which travels from Glen Kin over the Bealach Na Sreine to the Parish mother church at Inverchaolain. Inspired by thoughts of those desperate journeys he wrote the poem “West to Inverchaolain” which we believe deserves to be enjoyed by all our readers.

The remains of the cross that stood at the top of the coffin trail Photo by Stewart Cunningham

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View from the Stoneymollan coffin rail Photo by Stewart Cunningham

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West to Inverchaolain West, they walked, to Inverchaolain, Grieving sons and kin, On that final sad and wretched journey. And on a bleak and sombre pass Below cold Green Knapp’s Snow dressed slopes They laid their precious cargo down, On rain lashed granite coffin stones. And on that sodden turf, forlorn, Those rugged hardy brothers Stood together cold and crying Huddled tight against the rain, A prayer to God, A plea for strength A watered dram to dull the pain. And rested from that bruising labour Heavy casket once more shouldered West, they walked, to Inverchaolain, Hunched backs raw and breaking Sunday’s best soiled and soaking Polished brogues drenched and leaking From that barren windswept height Those stoic hands with no complaint Continued on their desperate journey.

Gerena Sumen of Argyll Walks on the Stoneymollan Coffin Trail Photo by Stewart Cunningham

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Through dense blinding chilling mist Exhausted aching bodies floundered, Down pitted broken pathless slopes They bore that heavy cross with grace, Lungs burning Hearts breaking Spirit slowly dying, West, they walked, to Inverchaolain, The nearest holy ground to ‘Kin Where joyous loving couples wed Where Cowal’s cool clear mountain burns Baptized the bawling bairns of ‘Lean, And in that chapel’s hallowed soil Where weary souls would lie For their eternal rest; West, they walked, to Inverchaolain Into the cold hard numbing rain On this their promised path to heaven, And when that shattered broken cortege Reached that cold and empty church; And in that silent place of worship, Before their makers sacred altar, They laid their mother’s precious corpse to rest, There were no Lamonts to lament. © Martin Goldie

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History

ew look at ancient settlement By Paul Watson

t may be older than Stonehenge and even the Pyramids at Giza but more than 5,000 years of history at Skara Brae in Orkney have been brought in to the 21st century. A new digital 3D model of the site allows virtual visitors to enjoy an immersive digital experience of the Neolithic settlement, including the opportunity to gain virtual access to House 7, the bestpreserved house at Skara Brae which is not normally accessible to the public. Created through a process of ultra-fast, high-resolution laser scanning experts have succeeded in capturing a photorealistic model using hundreds of overlapping images in a technique known as photogrammetry.

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Inside Skara Brae Image Historic Environment Scotland

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As well as offering a unique perspective on the iconic site, the digital model also allows users to explore how climate change and its impacts have shaped Skara Brae - from its discovery just over 170 years ago as the result of a severe winter storm, to the threat of coastal erosion from rising sea levels and increasingly frequent extreme weather events the site is experiencing today.

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Users can also see how Historic Environment Scotland (HES) and its predecessors have responded to those challenges, by exploring the sea wall which was constructed in the 1920s to protect the site from wave and storm damage and which has been extended and repaired numerous times over the decades.

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Image Historic Environment Scotland

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The 3D technology used to create the model also has an important role to play in protecting the site for the future. Since 2010 Skara Brae and the surrounding bay have been laser scanned every two years by HES to

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monitor coastal change at the site. The data from this scanning is then used to inform management and maintenance of the site, and is shared with Scotland’s national coastal mapping project, Dynamic Coast.

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Al Rawlinson, Head of Digital Innovation and Learning at HES, said the 3D model of Skara Brae offered an innovative way to access the site using cutting-edge technology. “In order to protect our past

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from the impacts of climate change we must look to the future. Digital technology such as this will be a vital tool to help us better understand and manage the climate risks to our historic places, and to share their climate stories,” he said.

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The model of Skara Brae was created using laser scan data captured as part of the Rae project, named after the renowned 19th century Scottish-Orcadian explorer and surveyor John Rae, which aims to accurately digitally document over 300 heritage sites and their collections in the care of HES. The 3D model of Skara Brae can be viewed on Sketchfab

“While the challenge posed by climate change is stark new technologies like those deployed by HES increase our ability to monitor, learn, collaborate and find new approaches to become sea-level wise and adapt to our future climate,” said Dr Alistair Rennie, Dynamic Coast Project Manager.

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Property

easide views and eco living

t may not evoke the Shakespearian imagery of an oyster but this custom designed house in the shape of a crab certainly has the potential to be somebody’s world. The Crab House is a bespoke energy efficient seaside home in the charming coastal village of Johnshaven, Kincardineshire. Its distinctive design is inspired by its coastal location as the property is formed in the shape of a crab, with two ‘claws’ to the front enclosing a sheltered courtyard. Completed in 2014, the southfacing property has been

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thoughtfully constructed using locally-sourced Douglas fir timber, with a curved roof laid with sedum and extensive windows throughout taking advantage of the beautiful sea views. The property has an EPC rating of ‘B’, for energy efficiency. The first floor of the property is designed as one exceptional living space including the kitchen area, dining area and sitting room with the entire frontage glazed and double doors opening on to a glass balcony extending the width of the house. The lounge area also has a wood burning stove which rotates 360 degrees.

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Crab House Crab House aerial view Photo by Galbraith

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On the ground floor, there is a conservatory in one of the ‘claws’, which would be ideal as a hobby room or additional living space; there are two spacious double

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bedrooms, one with en-suite shower room and the other having a bathroom with wet room shower area.

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The second ‘claw’ is detached from the main house and is designed as a substantial greenhouse. Between the claws

is a sheltered courtyard providing an ideal outdoor seating area, and steps leading to the front door.

Crab House reception room Photo by Galbraith

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The plot extends to just over half an acre and the owners have created a wildlife-friendly garden that is welcoming to insects, birds, butterflies and bees with fruit trees, wild grass, flowers

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and natural paths meandering through. There are enclosed vegetable cages, a productive vegetable garden and a greenhouse.

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The charming Shepherd’s hut with wood burning stove provides accommodation for guests and high on the hill, while behind The

Crab House is a timber glazed workshop, positioned perfectly to capture the incredible views and offering a special retreat.

Crab House exterior view Photo by Galbraith

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The Crab House is located in the historic fishing village of Johnshaven in Kincardineshire, a charming traditional village, with narrow streets overlooking the harbour, a pub, village shop

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and small primary school. This part of the coastline features rugged rocky outcrops and cliffs, interspersed with sandy bays and beaches.

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St Cyrus beach is only a few minutes’ drive down the coast and is a popular nature reserve. Johnshaven is situated

midway between Montrose and Stonehaven and local shops are available in Inverbervie, a short drive away.

One of the bedrooms in Crab House Photo by Galbraith

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“The Crab House is a superb, light-filled home with a unique style and energy conscious design, offering a wonderful

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seaside lifestyle with beautiful outlooks,” said Hannah Christiansen of Galbraith, who is handling the sale.

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“Johnshaven is a picturesque traditional fishing village with a good range of amenities, on an idyllic coastline. “This is a rare opportunity to acquire an eco-friendly home

on the beautiful Scottish coast, perfect as a main home, a second home or for use as a holiday let.” The Crab House is on the market for offers over £375,000.

Crab House interior Photo by Galbraith

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East Bonhard

East Bonhard Farmhouse Photo by Galbraith

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For more than twice the price you could buy a stunning country home complete with four bedrooms, three reception rooms and paddocks in a rural setting, that is on the market for offers over £760,000.

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Situated close ago the historic town of Linlithgow East Bonhard Farmhouse is a spacious family home with wonderful views over countryside and to the sea at the Firth of Forth.

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The property extends to 2.54 acres with approximately 1.95 acres grazing land, classified as Grade 3.1 by the James Hutton

Institute. The land is split into two stock-proof paddocks with water troughs, timber field shelter and polytunnel.

East Bonhard interior Photo by Galbraith

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The outbuildings include a workshop/gym and barn, both of stone construction. The workshop provides convenient storage space and is ideally suited for use as a home gym. The barn provides

extensive storage space for vehicles and implements and has both residential and commercial development potential, subject to obtaining the necessary consents.

Photo by Galbraith

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The house has fantastic views over the surrounding countryside to the sea and the impressive Forth crossings. Its spacious and

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well-maintained gardens and paddocks are very peaceful, despite the accessible location.

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Photo by Galbraith

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“East Bonhard offers a superb rural lifestyle with the added advantage of proximity to the

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historic town of Linlithgow,” said Rebecca March of Galbraith, who is handling the sale.

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Photo by Galbraith

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“The property has a lovely garden and a manageable amount of land, which will have huge appeal for anyone looking to create a

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smallholding, grow their own fruit and vegetables, keep horses and enjoy the lovely open outlooks.

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“The house has been wonderfully upgraded while retaining a wealth of period features. There is also the opportunity to convert the outbuildings to additional

accommodation or business use, subject to planning permission. The property offers an exceptional lifestyle for families or those with equestrian interests.”

Photo by Galbraith

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