#pictish carving

[thesilicontribesman]

Eassie Pictish Symbol Stone, Eassie, Scotland

[grandboute]

[scotianostra]

St Madoe's Stone , Perth Museum.

The most complete of all the pictish/Celtic stoones I saw on display on Monday, this was found lying down in St Madoes Churchyard, Perthshire during 1830's. . In the 1920s it was moved, in its base, to stand against the wall beside the church door. In the 1990s it was taken to Perth Museum & Art Gallery.

One side, as seen in my gif, is dominated by the ring-headed cross that fills what we can accept as the front of the slab. It is surrounded by biting dogs and with two lion-like creatures facing each other across the top of the stone.

The other side of the slab shows three cloaked and hooded riders, probably churchmen (possibly a reference to the road and its users between St Andrews and Scone) and below them three Pictish symbols: a crescent and v-rod, a double-disc and z-rod and a Pictish beast. The symbols are much worn due to exposure to the elements when it stood in thechurchyard.

In the first thousand years AD, the country we now call Scotland was dominated by changing groups of Celtic peoples, most notably the Picts. From AD 250-900, they controlled most of Scotland north of the River Forth. We do not know what they called themselves. The Picts – meaning “the painted ones” – is the name the Romans gave them. Their language has disappeared and no Pictish manuscripts are known to have survived. But their art does survive on over 300 pieces of carved stonework and a much smaller number of portable objects such as jewellery.

There at least 17 sites around the Perth area, they include Stone Circles, a Pictish Free-Standing Cross, Pictish Symbol Stones and stones with cup marks, cup and ring marks are by far the most common motif, if you remember, or have ever inspected the Caiy Stone, at Oxgangs, which I visited and posted pics of last year, there are 6 of thes type of marks on this stone.

Perth Museum has several fragments of smaller stones which I shall post at a later time.

[superconductivebean]

#994: Hogwarts Inquires - 117

Did you know? - 18

The text on the Boards from the Undercroft:

appears before the In the Shadow of the Estate quest.

Few attempts on text legibility were made here and in the reblogs of that post. And no, these notes do not belong to Sebastian -- it is a headcanon.

We do not know the author. Howevor, Isidora is the most probable candidate for the authorship due to the name 'Percival' appearing but the what is likely a timestamp, 1632, veils on that probability, if to assume it is a timestamp, of course. It might be not. We don't know.

Interestingly, the artist tasked to fill up the boards wrote the spellings of the Middle English words: weter, strem, ston, chaungeable.

Diacritical marks were not widely used in the writings done in this language, if at all. You can read about it in more detail here.

These symbols are the triskelion and the valknut:

The latter although predates the Viking era, may not be as old as the former; the former is common in many of ancient art, going as far deep into the ancient history as Helladic and Mycenaean eras of the Ancient Greece and the neolithic mound in Meath, Ireland. Weirdly, the stone objects MC can throw with magic have blue-ish carved symbols on their surface; the carvings look somewhat distinctly Pictish, the choose for colour therefore sounds… like it's Let's Throw Everything Ancient To The Region To The Greater Mix Of Things.

This knot:

is the doire / dara knot; symbolises the oak tree, perhaps the most sacred among Celtic people.

This bit could be important to remember: according to this website, Oak's astrological period starts at June 10 and ends at July 7.

These:

are half Alchemy symbols for basic elements (tin, lead, silver, gold, mercury, etc), half transfiguration alphabet as seen from this image:

This little fella is Saturn/lead:

The congregation of the points at the lower left eludes me but the number of points is 7 and the number 7 appears on the end point of the dimensional door aka the wall MC and Sebastian appear at after they are teleported back to the Undercroft from the Isidora's estate:

Perhaps it tells us Isidora had 7 hideouts and not 3? Besides, the number 7 is the number of the planets corresponding to the 7 metals:

Sun - Gold - ☉

Moon - Silver - ☽

Mercury - Quicksilver - ☿

Venus - Copper - ♀

Mars - Iron - ♂

Jupiter - Tin - ♃

Saturn - Lead - ♄

Uranus, Nepture, and Pluto aren't a part of Alchemy due to a very simple reason: by the time Uranus was officially discovered in the 1781, Robert Boyle had already published the book The Sceptical Chymist: or Chymico-Physical Doubts & Paradoxes, in 1661. He'd effectively removed the word 'Alchemy' from the use and replaced it with the word 'Chemistry', thus also avoiding the confusion between branches of Alchemy that did research on various materials (that includes spagyric teachings; Paracelsian physicians were the people turning poisons into cures and remedy) -- and what people inspired by Hermes Trismegistus developed smooshing many different things together, such as philosophy, alchemy, astrology, etc, creating a wtf.

I'd say it gives geodesy but may also be a weird depiction of the sal commune err common salt:

What to say about these I can't decide, but they look like ~compound names for various alchemical substances, from left to right: Spiritus Fumans (Stannic Chloride), Aqua Tofana (the infamous tasteless belladonna poison), and Verdigris (Carbonate of Copper, once used as a green pigment; was mildly toxic):

What it's supposed to mean eludes me, besides, it is an assumption.

What I suppose it should mean: something Isidora, if that belongs to her, found; all things besides Verdigris were discovered after her death in the late 1400s, however, there is a person who could've been trying to decipher… these things.

In the In the Shadow of the Undercroft quest Sebastian mentions:

No, someone in his family knew about it [the Undercroft]. The Gaunts are full of secrets.

That Gaunt should've been alive in 1632, assuming it is a timestamp. They also needed to be at school at the time, so could be a professor, a member of the staff (a gamekeeper, for example), a Headmaster; unlikely it was Corvinus Gaunt, who was a student by the time the castle would receive plumbing update (late 17th--early 18th century).

'Aura? Ancient Magik' has to become my favourite kind of explaining things to meself because I, too, have no idea what this means:

I can only tell some text is in Greek. An attempt to type after this bit yielded some results:

Ιαεω is probably Ιασω, recovering&recuperation;

ΒαθρεμονΝΟΝΙΛα is probably βαθμολογία, a degree of smth or a grade;

ρπδ is a greek numerical for 184;

φ, a golden ration mention?;

πδ has to do with the Ptolemy's table of chords?

May not be linked to the much speculated Ancient Magic's capability of healing anything but more so of a celestial body's movement, tied, anyhow, to the Magic's power. Probably.

Speaking of which, Is this the constellation of Lacerta? The number of stars doesn't match, however. Lacerta has 9, this one appears to have 10 or 11; likely 11 + it has a satellite constellation of just 3 stars. I summon astronomy nerds to solve this one + the text and the table below is likely have something to do with Astronomy. I might also suggest: weirdly drawn Draco.

[sierrawitch]

🌳Ogham Master Post🌲

(Aicme links below)

Ogham is an Early Medieval (and the first) Celtic writing system created in 100 CE, which went on to develop Ancient Irish in the 4th-6th centuries CE, and Old Irish in the 6th-9th centuries CE. It was also used to write Pictish, Scottish Gaidhlig, and some Welsh.

The Ogham alphabet consists of four major letter groups—or aicme—to make up the feda, and one additional group that was created in the 6th century of the Old Irish period—the forfeda.

Ogham can be seen today carved into ancient stones in Ireland, Scotland, and in Wales, some dating back to the 4th century CE.

Each character is representative of a type of tree or plant with additional associations such as wealth, healing, love, etc. Today, these characters are used primarily in divination practices in Celtic paganism and Celtic folk witchcraft as wooden staves, cards, or carved onto stone and other natural objects. Ogham is typically written vertically from bottom to top, resembling the growth of a tree. However, it can also be written horizontally by rotating the characters 90° to the right (as shown in aicme links).

First Aicme (B)

Second Aicme (H)

Third Aicme (M)

Fourth Aicme (A)

Fifth Aicme/Forfeda (EA)

If you would like typed Ogham on a mobile or desktop device, be sure to use the horizontal format of the Ogham Transliterator. Highlight, copy, and paste the text to use in various projects.

[wellmetmat]

@nohoperadio tagged me in an ask meme. I was delighted to get to read their answers and delighted to be tagged. One question is about objects you have some attachment to, and I cannot post merely one or two of those; I am a compulsive fiddler surrounded by graspable objects at all times, and am furthermore very materialistic and like pleasant objects, and a few dozen of them are always tied for first place, so this question needs to be a post unto itself. Will be long, take warning.

"Show us an object in your daily life that you have an emotional attachment to - tell us a little bit about it if you want! (a favourite mug perhaps? socks with a cute pattern? dealers choice)" So keen.

Above:

1. A ring made from scrap copper sheet long ago in a workshop with someone who could solder. It is a reminder of my repeated failure to solder anything later in life. (It does recall failure, but I like its colour: heat-mottled, bright in the scratches. It looks like a speckled fish.)

2. A dark blocky figurine of a man sitting hunched over in despair, face in his hands. This is a wonderful shape to roll around: a carving with some narrative suggestion to it, which is also nearly a ball; brilliant. Because of the man's hopeless curled-up attitude, I also place it on top of stacks of paper I have yet to get to.

3. A sticker of Hans Holbein's portrait of Erasmus, whom I mostly like. It's a fine, distinctive, enjoyable portrait and I like his nose. I got this wishing to put it on either a notebook in which I finally wrote the Reformation theological heist story of my daydreams, or a suitable nonfiction book. I cannot decide on the most suitable book and have never actually written more than five thousand words of continuous story, so the sticker stays unplaced.

4. Two gifts from a friend who does Viking for his historical persona. He made the knife: blade, handle and sheath. He cut out and punch-decorated the brass bird, based on a period original.

A Herne-the-Hunter type I whittled into a camphor laurel stick.

A goose I scratched, based on a Pictish rock-carving.

Tiny toys owned by my mother. They're more than seventy years old. Their smallness always made them appealing.

A ring form I carved in wax once, then never cast (because that's harder and more steps and I went so far as making an attempted backyard furnace and it was lousy). So this, too, is a reminder of failure, but - it's a good object. It didn't reach precision, but it reached a degree of smoothness at which the compulsion to roll it round one's fingers switches on.

I pick up pretty stones and ceramic fragments as I walk, out of tactile covetousness. Some I try to make represent characters or historical people in narratives, as an aid to memory. The cracked crystal, rainbow at its flaw, stands (I decided) for Erasmus, and the blue-glazed shard for Zeus (during an attempt to learn the Hymn to Hermes well enough to tell it).

A pewter badge of membership issued by the historical society I go to, based on a Mongolian gerege.

A (bought) piece of amber whose shape suggests a koala. One day to be a return gift to the friend who made the knife. I delay because it would be good to carve it a bit first.

A pebble from Sherwood Forest. I went to England as a young adult, and was very excited, especially about Sherwood Forest and Canterbury.

A handle I carved (slightly) out of a fallen eucalyptus branch. The wood is hard; it took a lot of sanding. It is lovely in the hand now. I don't know what it should be a handle for; maybe an awl.

I was trying to write out a poem from memory, with good penmanship, for double practice. Of course I muffed both. Then I painted a marginal cassowary to express the anger and disdain my writing deserved. Then it turned out a fairly good cassowary and I couldn't stand to throw the paper out.

Spoon and brass flask-stopper.

Old example notebook. I usually carry around a notebook, and always long to fill it with good drawings and witty writings and helpful notes, and never succeed in so doing, and get attached anyway to my dismally lowbrow and feckless notes and then never throw them away. Alas.

I left my first cloak (a second-hand woolen blanket of a peculiar shade of teal) in a lovely friend's car and she SURPRISE-EMBROIDERED it. And returned it with this note pinned to it. As though I would ask her to remove her surprise embroidery! Pshaw. (The note has been in my treasure box for fifteen years.)

A work mate. I drew him. The carpark was boring.

[historia-vitae-magistras]

I think my favourite fiction of yours is the Summoning. It's written beautifully. I adore that love Alasdair bears for Matt, enough to raise the dead and ask the impossible. And the gulf between him and his mother is so tenderly painful. The layers of formality; the misunderstandings of time. It's perfect. I have to ask though: do Rhys and Arthur follow through on her request (or does Alasdair keep the visit to himself?)

AWW thank you! That was honestly one of the best things I've ever written. Being outside of time but also so anchored in this 17th century world where everything is fire, blood and witchcraft carved out of them all. Eirian is there, a shadow of who she was, existing in the nightlands, this land of the dead only to occasionally walk between worlds and into the realm of the living because the only thing that can are ideas, and love might be the strongest idea there is.

And they do! Not specifically because he relayed that message, I think he might have kept that to himself because their world is one where by and large, any attachment is a screaming weakness. Brighid, Alasdair and Rhys have a somewhat easier time connecting with their mother, they could probably do it semi-regularly just to catch up if they wanted. They still speak languages that descend from hers, the celtic fringe that survives every day. Pictish, probably closer related to Welsh and Cumbric than Gaelic, was kind of torn from him in late antiquity and the early middle ages but it was replaced by Gaelic, his form of what was Brighid's language. Those three are kind of laced into each other. Invasions and counter invasions, defined by degrees of alienation from the imperial core that Arthur represents.

Arthur's inheritance is largely dead. His people never were completely usurped by the Germanic speaking peoples who formed England, but the words are gone, with only a handful remaining for him to use to name things he loves in at least a twisted way, the way his mother loved him. So its harder, I think, to look that far into the past, that far beyond the world Arthur had more hand in shaping than maybe the rest of them combined. He, like his siblings sees his mother in whatever space-time exists between this life and the next. She's a part of the tether that keeps them constantly on the balance between human and not, alive and not, real and not. The only difference being that it's the main way he sees her because dying is so much easier than unlocking things he could feel and speak in a language gone from this world. His mother is almost entirely reserved for those places. When crushed into the depths by a shipwreck under unfathomable pressure, rolling out of a plague cart, looking up at the heavens from some godforsaken rock of his second son or second empire. He sees her in the places where his arrogance and his over confidence has laid him bare to human consequences of cold, exposure and hunger. Mirages of what the Romans named barbaric when the image of 'civilization' Arthur imposes on the world everyone else tears him to shreds.

[azvolrien]

On the way back from Torridon, we took a detour into Strathpeffer for a quick look at the Eagle Stone, so named - obviously - for the eagle carved on it below the 'horseshoe', another common Pictish symbol.

Its Gaelic name, Clach an Tiompain, doesn't actually mean 'Eagle Stone' - that would be something like Clach na h-Iolaire, though I'll admit I'm not certain of the grammar. I'm not totally sure what it does mean; Wikipedia says 'the Sounding Stone', but I'm not altogether confident of that translation.

[jurakan]

May I have a Friday fun fact?

Today You Learned about the Pictish Beast!

In Scotland, there was a group of people called the Picts. Contrary to what you probably think, it’s unlikely they tattoed themselves with woad to look blue, because scientists tried it out and found out it makes a crappy tattoo material. And they did a lot of cool carvings that they left around Scotland, still being found today! Like this:

Some of them have carvings of animals, like wolves, or horses, or boars. Cool stuff. Except that they also sometimes have this thing:

What the eff is that? Well, in truth–we don’t know. It’s just some creature. What makes this stranger is that while there are some more symbolic images, overall, the Picts were pretty good at carvings of animals–all of them you can tell quite clearly what they are. But the Pictish Beast is just some weird critter. And it keeps popping up! So it must have been something culturally important, but we haven’t a clue what. 

There are a lot of random guesses I’ve heard over the years, including:

-A seahorse. -An elephant. -A dolphin. -A kelpie. -The Loch Ness Monster. -Some unknown, mythical creature from the long-dead Pictish religion we’ve never heard of. -A stylized animal-shaped brooch.

[shrugs] Who knows, man.

[ailishsinclair]

The Mystery of Burghead Well

Everything about Burghead Well is mysterious. It’s not known who built it, or when, or why. One definite fact: Burghead Well is huge It’s much bigger than a plain water source needs to be. The chamber, carved out of solid rock, is five metres wide. The pool is 1 metre deep and fed by an underground spring. It could have been part of Burghead Pictish Fort, or it could have come before or after…

[barbucomedie]

Cross Slab from Benvie, Scotland dated to the 9th Century on display at the McManus Art Gallery and Museum in Dundee, Scotland

This stone can be interpretated to show the connection between the church and nobility. One side the christian cross in the Celtic style and the other side shows a cavalryman with elaborately styled curly hair and a long moustache, very common amongst Celtic peoples. The lower part of the stone shows a helmeted cavalryman, presumably a bodyguard to the noble.

The Pictish peoples were farmers, horse breeders and craftsmen, but most commonly depict themselves as warriors. This may be due to the people commissioning the carvings were often nobles and warriors and so the common people were often ignored in art.

Photographs taken by myself 2024

[thesilicontribesman]

'The Sun Stone', Early Christian Cross with Pictish Influenced Design, Govan Old Stones Collection, Old Govan, Glasgow, Scotland

[grandboute]

Pictish art

[scotianostra]

On March 6th in the year 1217, Malcolm, Earl of Fife, founded the Abbey of Culross. A place oozing with character and history, the whole of Culross is a magical place to visit. Some sources state that St Mungo, also known as St Kentigern, was born in Culross and this site may have been chosen to establish an abbey because of this. It is evident that the abbey was built over the earlier Pictish church supposedly founded by Saint Serf in the 6th century, as witnessed by the presence in the ruined Cistercian church of early medieval carved stones and from a ninth-century reference to a church of St Serf at Culross (Cuileann Ros) in a Gaelic list of the mothers of various saints. The original 13th century abbey was cruciform in plan, without aisles. By the late 15th century the lay brothers had left, and the abbey community consisted of only choir-monks. The western half of the abbey was therefore abandoned, and the nave was demolished around 1500. In 1633 the east choir of the abbey was taken over for use as a parish church, while the adjoining buildings fell into decay. In 1642 the north transept was converted into a tomb house by Sir George Bruce, Laird of Carnock. Alabaster carved effigies of him, his wife, and eight children can still be viewed there today, as seen in the third pic. The abbey was restored in 1823, although many original features were removed, including the transept chapels. Another restoration took place in 1905, which reinstated the chapels and left the buildings much as they can be seen today. The eastern parts of the church are still in use for worship, and are generally open to the public. Folk lore says a Ley tunnel exists beneath the abbey and within is said to sit a man in a golden chair waiting to give valuable treasures to anyone who succeeds in finding him. Many years ago a blind piper decided to try and upon entering at Newgate with his dog he proceeded to search and could be heard playing his pipes as far as the West Kirk, three quarters of a mile away. Eventually the dog emerged into the daylight, however the piper was never seen, or heard of, again. Culross is a hot bed for paranormal activity, with not only the abbey having sightings of the traditional ghostly monks, but also many reports from the village itself which is steeped in such history of black magic and witchcraft

The colour pics are my own.

[sonjatwogreyhounds]

Hilton of cadboll stone

The Hilton of Cadboll Stone is a Class II Pictish stone discovered at Hilton of Cadboll, on the East coast of the Tarbat Peninsula in Easter Ross, Scotland. It is one of the most magnificent of all Pictish cross-slabs. On the seaward-facing side is a Christian cross, and on the landward facing side are secular depictions. The latter are carved below the Pictish symbols of crescent and v-rod and double disc and Z-rod: a hunting scene including a woman wearing a large penannular brooch riding side-saddle. Like other similar stones, it can be dated to about 800 AD.

the #sighthound#bulletin

#greyhound#sighthunds#sighthoundmuseum#greyhoundart#greyhoundhistory#greyhoundlovers#sighthoundart#history#deerhound#scotland

[charliescreatures]

Sea horse hug- loosely based on a sea horse carving from the Aberlemno stones. This carving may be depicting Pictish beasts or be more related to silkie mythology.