The Stone of Destiny, Stone of Scone or Coronation Stone, is a relatively unattractive and unappealing slab of stone but it is also a unique symbol in Scottish history, linked to royal inaugurations. At a conference organised by the Society of Antiquaries of Scotland in 1997 participants focused on the stone as both object and symbol', discussing its origins, authenticity, its role as a national icon, its removal and loss, and its final return to Scotland in 1996. A range of different approaches were taken assessing the geology of the stone, its ceremonial functions, its links with Scone and Scone Abbey and its turbulent history. Contributors include:
Constructed in 1297−1300 for King Edward I, the Coronation Chair ranks amongst the most remarkable and precious treasures to have survived from the Middle Ages. It incorporated in its seat a block of sandstone, which the king seized at Scone, following his victory over the Scots in 1296. For centuries, Scottish kings had been inaugurated on this symbolic ‘Stone of Scone’, to which a copious mythology had also become attached. Edward I presented the Chair, as a holy relic, to the Shrine of St Edward the Confessor in Westminster Abbey, and most English monarchs since the fourteenth century have been crowned in it, the last being HM Queen Elizabeth II, in 1953. The Chair and the Stone have had eventful histories: in addition to physical alterations, they suffered abuse in the eighteenth century, suffragettes attached a bomb to them in 1914, they were hidden underground during the Second World War, and both were damaged by the gang that sacrilegiously broke into Westminster Abbey and stole the Stone in 1950. It was recovered and restored to the Chair, but since 1996 the Stone has been exhibited on loan in Edinburgh Castle. Now somewhat battered through age, the Chair was once highly ornate, being embellished with gilding, painting and colored glass. Yet, despite its profound historical significance, until now it has never been the subject of detailed archaeological recording. Moreover, the remaining fragile decoration was in need of urgent conservation, which was carried out in 2010−12, accompanied by the first holistic study of the Chair and Stone. In 2013 the Chair was redisplayed to celebrate the Diamond Jubilee of the Coronation of HM The Queen. The latest investigations have revealed and documented the complex history of the Chair: it has been modified on several occasions, and the Stone has been reshaped and much altered since it left Scone. This volume assembles, for the first time, the complementary evidence derived from history, archaeology and conservation, and presents a factual account of the Coronation Chair and the Stone of Scone, not as separate artifacts, but as the entity that they have been for seven centuries. Their combined significance to the British Monarchy and State – and to the history and archaeology of the English and Scottish nations – is greater than the sum of their parts. Also published here for the first time is the second Coronation Chair, made for Queen Mary II in 1689. Finally, accounts are given of the various full-size replica chairs in Britain and Canada, along with a selection of the many models in metal and ceramic which have been made during the last two centuries.
"Stone Voices is Ascherson's return to his native Scotland. It is an exploration of Scottish identity, but this is no journalistic rumination on the future of that small nation. Instead it weaves together a story of deep time - the time of geology and archaeology, of myth and legend - with the story of modern Scotland and its rebirth."
In "The Story of Westminster Abbey" by Violet Brooke-Hunt, readers are taken on a captivating journey through the historical and architectural significance of one of Britain's most iconic landmarks. Brooke-Hunt's detailed descriptions and meticulous research provide readers with a comprehensive understanding of the abbey's role in shaping British history and culture. The book's rich literary style immerses readers in the grandeur and beauty of Westminster Abbey, making it a must-read for history enthusiasts and architecture aficionados alike. Violet Brooke-Hunt, a renowned historian and expert in British architecture, brings her expertise and passion for the subject to this book. Her in-depth knowledge and meticulous attention to detail are evident throughout the narrative, offering readers a compelling and insightful exploration of Westminster Abbey's past and present. Brooke-Hunt's scholarly approach and engaging writing style make this book a valuable resource for anyone interested in learning more about this historic site. I highly recommend "The Story of Westminster Abbey" to readers who appreciate well-researched historical narratives and insightful analyses of architectural landmarks. Violet Brooke-Hunt's expertise and passion for the subject shine through in this book, making it a fascinating and informative read for history buffs and architectural enthusiasts.
Epic fantasy found an exhilarating new voice in Robert Newcomb, whose monumental debut novel, The Fifth Sorceress, was hailed by readers and critics alike. And now, for all those spellbound by the tale of Prince Tristan, heir to the throne of Eutracia, his twin sister Princess Shailiha, the ancient wizard Wigg, and the fate of their enchanted land, there is indeed more—much more—to be told. . . . For three centuries, Eutracia was a kingdom at peace, ruled by a benevolent monarchy and guided by a council of wizards. But a horror from the past, long believed vanquished, returned with devastating fury. And when the battle against the bloodthirsty Sorceresses of the Coven was finally won, victory was not without its price. Now, the royal palace lies in ruins; the king and queen, the royal guard, and the Directorate of Wizards are dead; the land is lawless; and Prince Tristan— forced by the Coven to murder his father, the King—is a wanted man. In a cavernous underground labyrinth, once headquarters of the wizards’ council, Tristan has taken refuge with his sister, Shailiha, her infant daughter, the wizard Wigg—the lone surviving member of the Directorate—and the crippled wizard Faegan, returned from self-imposed exile in the forest of Shadowood. Together they face the daunting task of restoring order to Eutracia and winning back the allegiance of her subjects. But suddenly, even these challenges pale beside a truly terrifying turn of events. The sacred jewel that is the source of all magic has inexplicably begun to lose its power. Without its age-old enchantment to sustain their spells, the immortal wizards will perish . . . and magic will vanish from Eutracia forever. At the same time, a mysterious and ruthless mercenary has declared a bounty upon the head of Prince Tristan. And an army of wizards on a mission to rid Eutracia of monsters created by the Coven has fallen prey to an insidious breed of creatures—beings that can only have sprung from forbidden use of malevolent magic. With time and their powers dwindling, Wigg and Faegan desperately seek to discover who, or what, has succeeded the dead Sorceresses in laying siege to Eutracia. But when the shocking truth is revealed, and an evil that transcends life itself is made known, it is Tristan, more than any other, who will be stunned to his very soul. And it is Tristan who will be thrust into the ultimate battle—for his life, his land, and the course of his destiny.
Emblems in the visual arts use motifs which have meanings, and in Emblems in Scotland Michael Bath, leading authority on Renaissance emblem books, shows how such symbolic motifs address major historical issues of Anglo-Scottish relations, the Reformation of the Church and the Union of the Crowns. Emblems are enigmas, and successive chapters ask for instance: Why does a late-medieval rood-screen show a jester at the Crucifixion? Why did Elizabeth I send Mary Queen of Scots tapestries showing the power of women to build a feminist City of God? Why did a presbyterian minister of Stirling decorate his manse with hieroglyphics? And why in the twentieth-century did Ian Hamilton Finlay publish a collection of Heroic Emblems?
At a time of renewed interest in the monarchy (stimulated by the marriage of Prince William of Wales and the Diamond Jubilee of Queen Elizabeth II), the institution is analyzed and dissected from almost every point of view apart from the sacred -- which arguably stands at its heart and is its ultimate raison d'etre. Commentators assess the constitutional and philanthropic aspects of monarchy and its tourist potential; gossip magazines report on the Royal Family as a soap opera. This lack of attention is in marked contrast to the sacred origins of monarchy and the manifest importance of religious belief in the life of the present monarch. Ian Bradley traces the religious dimension of monarchy and argues for its importance as a spiritual force in British life, as well as exploring what this might mean in a society that is both multi-faith and increasingly secular.
A pocket-sized guide to Scottish history, and the dark deeds, battles, and political struggles involved. Details of over 200 historical places to visit are also included.
