View allAll Photos Tagged its_dramatic
Nancy and I checked out two of the ancient stone circles while in Great Britain, neither of which was named Stonehenge.
This prehistoric site in Cumbria is particularly impressive because of its dramatic setting.
Ernst. H. Gombrich: Historia del Arte
“Un artista como Tintoretto quiso mostrar las cosas con una nueva luz, explorando otros modos de representar los mitos y leyendas del pasado. Un acabado unido y esmerado no le interesó por no servir a sus fines. Por el contrario, tal cosa podía distraer la atención del dramático acontecimiento que sucedía en el cuadro que estaba pintando. Acostumbró, pues, a dejarlos así, haciendo que la gente se asombrara.
Durante el siglo XVI, nadie llevó tan lejos un procedimiento semejante como un pintor de la isla griega de Creta, Domenikos Theotokopoulos (1541- 1614), llamado El Greco.
Llegó a Venecia procedente de un lejano lugar que no había desarrollado ninguna especie de arte durante el medievo. En su país natal debió acostumbrarse a ver las imágenes de los santos, solemnes, en actitudes rígidas y sin ninguna semejanza de apariencia natural, según la manera bizantina. No habiendo sido educado para perseguir la corrección del dibujo, no halló nada horrible en el arte de Tintoretto, sino que lo encontró fascinante. También él fue, al parecer, un hombre apasionado y fervoroso, y sintió la necesidad de plasmar los temas sagrados de manera distinta y llena de agitación.
Tras su estancia en Venecia se estableció en Toledo, España, donde no era fácil que le distrajeran o molestaran los críticos exigiéndole un dibujo correcto y natural, ya que en España persistían en grado elevado las ideas medievales acerca del arte. Esto puede explicar por qué el arte de El Greco supera incluso al de Tintoretto en su atrevido desdén hacia las formas y colores naturales, así como en sus dramáticas y agitadas visiones”.
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Ernst. H. Gombrich: History of Art
“An artist like Tintoretto wanted to show things in a new light, exploring other ways of representing the myths and legends of the past. A united and careful finish did not interest him because it did not serve his purposes. On the contrary, such a thing could distract attention from the dramatic event happening in the picture he was painting. So he used to leave them like that, making people wonder.
During the 16th century, no one took such a procedure so far as a painter from the Greek island of Crete, Domenikos Theotokopoulos (1541-1614), called El Greco.
He came to Venice from a distant place that had not developed any kind of art during the Middle Ages. In his native country he had to get used to seeing the images of the saints, solemn, in rigid attitudes and without any similarity of natural appearance, according to the Byzantine way. Not having been educated to pursue the correctness of drawing, he found nothing horrible in Tintoretto's art, but found it fascinating. He too, it seems, was a passionate and fervent man, and felt the need to portray the sacred themes in a different and agitated way.
After his stay in Venice he settled in Toledo, Spain, where it was not easy for him to be distracted or disturbed by critics demanding correct and natural drawing, since medieval ideas about art persisted in Spain to a high degree. This may explain why El Greco's art surpasses even that of Tintoretto in its daring disdain for natural forms and colours, as well as in its dramatic and agitated visions”.
The redness in the sky to the west was now alarming, although I knew the reason, it felt like something supernatural.
Palgrave was just a few miles from Hepworth, and one I hoped to find open, and at just after four in the afternoon, but nearly dar, it was.
It was really very gloomy inside the church, even with the lights on, shots were difficult to take. I was on a mission to snap all I could as soon as possible before the light failed altogether.
Church features a splendid Norman font, modern glass, and the remains of a spiral staircase leading to a room over the south porch, the floor of which has long since vanished. The stairs now a broom cupboard.
Wonderful painted roof, I thought maybe done in the last century, but might be much, much older than that.
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2015: I've visited Palgrave church several times since this account first appeared, most recently to take the photographs here. However, I hope I will be forgiven for retaining the original text from 2003, if only for its freshness, and perhaps also for what may be viewed at this distance as its charm.
2003: I arrived at Diss railway station in that gentle sunshine for which we’ll remember the Spring of 2003. Diss is in Norfolk; I had just crossed the border on my train journey from Ipswich, but I was bound for Diss's southern suburb, the Suffolk village of Palgrave. I cycled off from the station. I headed under the railway line, and over the infant Waveney. At this point, I entered Suffolk again, but there were no county signs in either direction. To be honest, it didn’t feel that different, apart from the way that the road surface improved, the schools came off special measures, the police force became efficient, and so on.
The countryside opened out into golden oilseed rape fields under a wide sky. It was good to be home. Soon, I was coming into Palgrave village, which seemed very pleasant indeed.
In medieval times, Palgrave was actually two parishes; the westerly one, Palgrave St John, has been subsumed into this one, and that church has completely disappeared. However, this pretty church is walled neatly into its graveyard at the heart of the village, which spreads neatly around it. As this was my first church of the day, I hoped it would be open; it always puts a crimp in a trip if the first one is a lock-out. I was not disappointed; St Peter is a friendly parish that knows that part of its Christian mission is to welcome strangers and pilgrims.
I stepped through the elaborate arch of the late 15th Century south doorway. An angel and a dragon contended in the spandrels, and there were characterful heads carved in the entrance arch. Inside, a very nice lady was busy with the flowers, and took time out to show me around. All the while, I was conscious that above my head the lovely painted roof of Palgrave. Marian monograms and symbols punctuate the whitewash; once, many small Suffolk churches must have been like this. Perhaps someone can explain to me why this one hasn’t faded like many of the others; I don’t think it has been redone.
The other famous treasure here is the font. It is unlike anything else in Suffolk. Clearly Norman, but much more elaborate than most, its most outstanding features are the faces in each corner. Again, this is a more intimate experience of the faces we normally see as corbels; but Palgrave has these too, stunning medieval characters along the lines of the arcades.
While we are on the subject of treasure, there were two modern features that were obviously loved by the locals. Firstly, Surinder Warboys has her studio nearby at Mellis, and here is one of her windows in the south aisle. The light flooded through it. The lady told me that everybody liked it, but that it was very hard to do a flower arrangement in front of it! I thought that they had done very well. Secondly, up in the chancel is the benefice millennium banner – people from all the parishes came together and produced this amazing patchwork cross. On the back, there are panels depicting the mission of the Church. Apparently, it is shared around the benefice churches for display for a few weeks at a time.
In the place where many churches now display the coat of arms, Palgrave has part of a suit of armour. I have seen an explanation in several books that it was from the parish armoury, which was once stored in the upper room of the porch, as at Mendlesham. This upper room has now gone, and the armoury has, as in most churches, been dispersed. However, I could find no evidence for this story, and it seems to be based on one of Arthur Mee’s fancies. I don't think it is even real armour; rather, it is similar to the mock plate armour behind the Bacon memorial at nearby Redgrave. It seems likely to me that this is also part of an old set of armour associated with a memorial of some kind, which the Victorians swept away. I don’t suppose we’ll ever know.
Back outside again, I took time out to photograph the famous grave of carter John Catchpole, with its relief of a wagon and horses – you can see it in the left-hand column. It seems a modern fashion to decorate headstones with symbols associated with the deceased; nice to know it was happening in the mid-18th century.
I turned, and looked back at the neat tower, the splendid porch with its dramatic niches. You can see that there was once an upper room, but it has now gone.
And it was time for me to be gone, too. Waving cheerily, I headed off in the direction of Thrandeston, all the road back to Ipswich open in front of me in the sunshine.
Simon Knott, August 2003, updated July 2015
Sunset on the River - 1867
George Inness (1825 - 1894)
The play of sunshine and shadow across the scene of cows grazing and thunderclouds in the distance creates a dynamic mood in the landscape. George Inness believed there was a direct correspondence between the natural and spiritual realms, as theorized by the Swedish mystic Emanuel Swedenborg (1688-1772). The artist hoped that, by showing the drama and dynamism of nature, his paintings would transport viewers to a higher emotional or mental plane.
George Inness distinguished himself among the Hudson River School painters by pursuing a more modern aesthetic of landscape painting. Unlike his contemporaries, who believed in creating realistic canvases of nature's vastness, Inness felt that "paintings were not necessarily pictures, and it was the artist's function, even his obligation, by an aesthetic and expressive reorganization, to interpret nature and not merely depict it." (as quoted in N. Cikovsky, Jr. and M. Quick, George Inness, Los Angeles, California, 1985, p. 19) Inness' New York based works from the 1860s are widely admired today because they are closest to the familiar manner of Hudson River School painting in those years. Yet these works also begin to show the artist's painting philosophy of incorporating atmospheric climate and expression which brings deeper spiritual meaning into his compositions. Inness went on to produce a body of work marked by a more subjective and ultimately more modern aesthetic than that of his contemporaries. With its dramatic composition and high degree of finish, Sunset on the River is an extraordinary masterwork from this important transitional phase in the artist's career.
Painted in 1867 near the town of Leeds, New York, Sunset on the River presents an expansive view of cattle grazing in a broad pasture which slopes toward a river, partially visible on the left. On the right a stone wall borders a road, along which a covered wagon moves toward a mill with a smoking chimney near the water. From a slightly elevated vantage point, the viewer looks across the expanse to another light-struck pasture in the middle ground extending to wooded foothills, which give rise to a large mountain in the distance. Storm clouds fill the sky, dappling the land with dark streaks intermingled with bursts of light which pierce the foliage and rake across the landscape.
Inness' use of light and atmosphere in Sunset on the River evokes mood and meaning. Nicolai Cikovsky, Jr., writes: "In all of the paintings of the 1860's, nature is not merely depicted straightforwardly, but is made articulate: moods of calm are emphatically peaceful, rainbows are clearly portentous, storms are dramatic and threatening, sunsets are gloriously radiant, and bleakness is unmistakably harsh and cold. In 1865, a writer remarked that Inness 'signally [possessed the power of] seizing upon the critical moment in some marked phase of nature.' The result is that one is made aware of the spiritual significance of nature through the way in which its visible forms and effects reflect some higher power." (George Inness, London, 1971, p. 38) The painting's dramatically changing sky, along with the tranquil setting of workers setting off to the mill, seems to express a sense of hope and prosperity in the wake of the Civil War. Very likely, Inness' contemporaries saw in this painting a theme that would pervade American art after the war--the return to peace, industry, and prosperity. The movement and energy of the present work's lush brushwork, paint texture and strong color choices underscore the emotional sense of calm after a storm.
Michael Quick considers Sunset on the River a stunning success of Inness' style of the 1860s. He writes: "This handsome, fully developed painting, with its dramatic lighting and clouds, is one of the most impressive of 1867, looking ahead to the more emotional interpretation of nature seen in Inness's work at the end of the decade. The view is based upon a sketch he used again in Approaching Storm, 1869. In this case, both the foreground and the distance are deeper, and the season is full summer, rather than fall. An unusual element is the mill with its smoking chimney, near what appears to be a building in ruins. Inness drew attention to the mill by both silhouetting it against the lighted field beyond and by making it the object of the road's long diagonal. Brick textile mills were numerous in the Leeds area, but this factory seems out of place in the otherwise entirely pastoral landscape. The textured foreground and the blacklighting of the trees are also unusual for works of 1867, no doubt reflecting the extra effort to add interest to this painting." (George Inness: A Catalogue Raisonné, vol. one, New Brunswick, New Jersey, 2007, p. 278) His inclusion of the factory and its workers appears here to add an element of the contemporary to his idealized landscape. Where other artists of the 1850s and 1860s might choose to render more purely pastoral views, Inness embraced the new.
All of the artistic devices evident in Sunset on the River convey emotional power. The painting's dramatic recession, extreme contrasts and strong color scheme induce the spiritual response that Inness began to suggest in the 1860s, and continued to evoke in his paintings throughout his career.
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This World Class attraction was everything we expected and more. Construction has just begun on a major expansion, but that has been managed in such a way that it does not in any way detract from the experience now.
This album focuses on the artwork inside the buildings and on the other interior spaces including the Eleven Restaurant and the Gift Shop. A separate album posted a few days ago is devoted to the two April mornings that we spent exploring just some of the trails that crisscross the 120 acres of Arkansas forest around the museum.
Alice Walton and her co-creative team can be proud of the vision and execution of everything on this 120 acre site.
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"Crystal Bridges Museum of American Art is a museum of American art in Bentonville, Arkansas. The museum, founded by Alice Walton and designed by Moshe Safdie, officially opened on 11 November 2011. It offers free public admission.
Alice Walton, the daughter of Walmart founder Sam Walton, spearheaded the Walton Family Foundation's involvement in developing Crystal Bridges. The museum's glass-and-wood design by architect Moshe Safdie and engineer Buro Happold features a series of pavilions nestled around two creek-fed ponds and forest trails. The 217,000 square feet complex includes galleries, several meeting and classroom spaces, a library, a sculpture garden, a museum store designed by architect Marlon Blackwell, a restaurant and coffee bar, named Eleven after the day the museum opened, "11/11/11". Crystal Bridges also features a gathering space that can accommodate up to 300 people. Additionally, there are outdoor areas for concerts and public events, as well as extensive nature trails. It employs approximately 300 people, and is within walking distance of downtown Bentonville."
en.wikipedia.org/wiki/Crystal_Bridges_Museum_of_American_Art
crystalbridges.org/nature-trails/
...
REFORD GARDENS | LES JARDINS DE METIS
From the plaque:
ANAMORPHOSES «LA PROMENADE» & «REFLETS», 2014
"As I capture the subject in its brief moment, the instant has vanished in a flash and created an infinite number of transformations".
Danièle Rataboule, Landscape Architect, Urban Planner and Teacher at University of Montreal.
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Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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I was 67026's driver hauling a failed 5E04 91106 and its MK 4 set to nearby Heaton depot.
67002 arrived in platform 2 with for a crew change hauling a Northbound charter service.
67002 was the last of its 30 strong class that I needed to drive. I Achieved that in October 2002.
It was my last as it had an extended stay in Crewe works following its dramatic rear end collision with an MGR train in the Bristol area.
With its dramatic mountain-and-riverside setting, its lovely/stunning old houses, mosques and antiquities, Amasya is among Turkey's undiscovered treasures.
St Abbs, Scotland - a coastal gem steeped in history and natural beauty. Once known as Coldingham Shore, this fishing village took its name in the 1890s from nearby St Abb’s Head, itself named after the 7th-century Saint Æbbe, who founded a monastery here in 635. The village grew from humble beginnings, with fishermen hauling gear down the rugged Creel Path, to a bustling harbour community thanks to 19th-century improvements by whisky magnate Andrew Usher.
Today, St Abbs enchants visitors with its dramatic cliffs, thriving seabird colonies, and world-class diving spots. It’s a haven for nature lovers, history buffs, and even Marvel fans—it starred as New Asgard in Avengers: Endgame
#StAbbs #ScottishBorders #HistoryByTheSea #NewAsgard
Day Two.
Stayed the night at a motel in Monterey, which is a nice town. Had a quick look at the place last night/evening.
"Monterey is a city on California’s rugged central coast. Its Cannery Row, one-time centre of the sardine-packing industry, was immortalized by novelist John Steinbeck. Today, it's a popular strip of gift shops, seafood restaurants and bars in converted factories" Wiki.
Heading south now on Route One again to our next motel in San Luis Obispo about 150 miles away.
First stop (not far from Monterey) is Carmel - "Carmel-by-the-Sea is a small beach city on California's Monterey Peninsula. It's known for the museums and library of the historic Carmel Mission, and the fairytale cottages and galleries of its village-like center, a famous place known for its natural scenery and rich artistic history" Wiki.
Back on the road and Route One we headed down and into the bit of coast called Big Sur.
"Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States"
It certainly lived up to the description! Amazing place to ride through/along!
Stopped at so many various vista points for pictures and posing etc!
We stopped for lunch at a place called Ragged Point -
"The tiny hamlet of Ragged Point where travellers are welcomed with a hotel, gourmet restaurant, a gas station, wedding facilities, hiking trails and outdoor cafe with an espresso bar. Towering high above the Pacific on a promontory with 400 foot sheer cliffs"
Unfortunately there was quite a bit of sea fret (low cloud) in the area, so our views were limited here..
Lunch was good too.. Met and chatted with another Harley biker on his way to San Diego.
Back on the road and continued down to San Luis Obispo to find our motel..
Once we had landed and sorted ourselves out, we went for a walk down into the town. One of the places we wanted to see was the (in)famous Bubblegum Alley. - "Bubblegum Alley is a tourist attraction in downtown San Luis Obispo, California, known for its accumulation of used bubble gum on the walls of an alley. It is a 15-foot (4.6 m) high and 70-foot (21 m) long alley lined with chewed gum left by passers-by. It covers a stretch of 20 meters in the 700 block of Higuera Street in downtown San Luis Obispo" Wiki.
We bought some food from a takeaway near our motel and ate that back in our room watching telly! Great day seeing so much beautiful coastline on the famous Route One!
In this series States Coast to Coast. This Fine Art is #25 in the series of a Scenic area from each state. The state today is #25 on the list and is Wisconsin.
Milwaukee Art Museum
Milwaukee, Wisconsin
The Milwaukee Art Museum is an architectural landmark on the shore of Lake Michigan, known for its iconic, wing-like brise soleil. The museum houses a collection of over 34,000 works and features a diverse range of exhibits, from antiquities to modern and contemporary art.
Prompt: Ultra-realistic digital fine art painting of the Milwaukee Art Museum, Milwaukee, Wisconsin. The scene captures the museum’s iconic Quadracci Pavilion designed by Santiago Calatrava, with its dramatic white, wing-like brise soleil rising upward against a vivid blue sky. The sleek, modern structure features sweeping curves, rib-like beams, and a soaring mast with supporting cables reminiscent of a sailing vessel. The composition highlights crisp architectural details: gleaming white surfaces, angular lines, and the futuristic, sculptural form of the building. In the foreground, a wide expanse of green lawn contrasts with the pristine white structure, while in the background the city skyline is visible under scattered clouds. Style: Ultra-realistic digital fine art, painterly detail Mood: Majestic, modern, visionary Lighting: Bright natural daylight, crisp highlights and shadows emphasizing texture and form
This digital fine art was created using OpenAI Sora AI and Photoshop
REFORD GARDENS | LES JARDINS DE METIS
COUCHER DE SOLEIL - Sainte-Flavie
Visit : www.refordgardens.com/
Photo taken close to REFORD GARDENS. (Sainte-Flavie)
Mrs Elsie Reford loved those beautiful sunsets.
Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!
''I shall always, all my life, want to come back to those sunsets.'' Elsie Reford, July 20, 1913. (page 25)
" It is just after 8 o'clock and I am sitting in front of my big window with the gorgeous panorama of a glorious afterglow from a perfect sunset. There is every hue of blue on the water of 'the Blue Lagoon' while Pointe-aux-Cenelles is bathed in pink and crimson and the dark hills of the north shore seem no further than two or three miles distant. I don't think in the whole world at this moment there could be anything more beautiful." Elsie Reford, June 2, 1931. (page 81)
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
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From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Bali is a living postcard, an Indonesian paradise that feels like a fantasy. Bali enchants with its dramatic dances and colorful ceremonies, its arts and crafts, to its luxurious beach resorts and exciting nightlife. Bali Hotels. Booking hotel in Bali bookinghotelin.com
Saint-Gervais-Saint-Protais
Saint-Gervais-Saint-Protais is a Roman Catholic parish church located in the 4th arrondissement of Paris, on Place Saint-Gervais in the Marais district, east of City Hall (Hôtel de Ville). The current church was built between 1494 and 1657, on the site of two earlier churches; the facade, completed last, was the first example of the French baroque style in Paris. The organists of the church included Louis Couperin and his nephew François Couperin, two of the most celebrated composers and musicians of the Baroque period; the organ they used can still be seen today. The church contains remarkable examples of medieval carved choir stalls, stained glass from the 16th century, 17th century sculpture, and modern stained glass by Sylvie Gaudin and Claude Courageux. Saint-Gervais was a parish church until 1975, when it became the headquarters of the Monastic Fraternities of Jerusalem.
History
A church dedicated to Saints Gervasius and Protasius, two Christian martyrs from Milan, is recorded as existing on the site in the 7th century, making it one of the first parish churches on the right bank in Paris. It was attended mostly by boatmen and fishermen, because it was close to the river port at the Place de Grève. It was built on a slight hill, the Monceau Saint-Gervais, to be safe from the floods of the Seine. After the completion of the wall of Philippe-Auguste, built between 1190 and 1209, the neighborhood was protected against attack and the population began to grow. The church had come under the sponsorship of several of the important confreries or guilds of Paris, including the wine-merchants. With their financial help, a larger church was built on the site in the early 13th century. .[1]
Construction of the present church began in 1494, but was delayed by the Wars of religion and by a shortage of funds. It was begun in the Gothic style; the chapels of the apse were finished in 1530 and the transept in 1578.[2] While the interior of the church was largely Gothic, the facade was built in an original new style, the French Baroque, on a plan by architect Salomon de Brosse (1571–1626). The first stone of the facade was placed by the young King Louis XIII in 1616. Between 1600 and 1628, a second row of chapels was built on the north side including the golden chapel ornamented with painted woodwork.[3]
During the 17th and 18th century the church was attended by many members of the aristocratic families who lived in the Marais, including Marie de Rabutin-Chantal, marquise de Sévigné, and the Chancellor of Louis XIV, Michel Le Tellier, whose funeral monument is found in the church.
Beginning in 1653, the church employed and sheltered the Couperin family, one of the most famous dynasties of French musicians, for more than two centuries. On one side of the church, the home of the celebrated harpsichordists, organists, and composers still stands, with a plaque commemorating the Couperins' tenure. The organ used by Louis and François Couperin still exists today inside the church; it was built by the most famous organ builders of the time, François-Henri Clicquot, Louis-Alexandre Clicquot, and Robert Clicquot.
In the 18th century, the facade of the church was greatly admired, though it was nearly blocked from view by a row of houses. Voltaire wrote, "It is a masterpiece which is lacking nothing except a place from which to see it." The houses blocking the view were finally demolished in 1854, opening up the view of the facade. .[4]
During the French Revolution, the church was emptied of many of its treasures and turned into a Temple of Reason and Youth, before being returned to the Church in 1802.
On 29 March 1918, a German shell, fired by the long-range "Paris Gun", fell on the church, killing 91 people and wounding 68 others; the explosion collapsed the roof when a Good Friday service was in progress. This was the worst single incident involving a loss of civilian lives during the German bombardment of Paris in 1918.[5] Among those killed was Rose-Marie Ormond Andre-Michel, the niece and a favorite model of John Singer Sargent.[6]
In 1975 the church became the headquarters of the Monastic Fraternities of Jerusalem, founded in that same year by Père Pierre-Marie Delfieu with the authorisation of the then Archbishop of Paris, François Marty. The order is devoted to carrying on monastic life in an urban context; most of its members work part-time in civil occupations. The church is known for its distinctive and ecumenical liturgy; for example, adopting Lutheran hymn music and Orthodox troparia. The order has founded several other communities in France, at Mont St. Michel, Vezelay, and Magdala Sologne and elsewhere in Europe, in Florence, Brussels, Cologne, Warsaw, and Montreal.
Five new stained glass windows by Sylvie Gaudin were added to the southwest chevet of the church in 1993–95. Another series of six windows by Claude Courageux was added in the early 2000s in the upper level of the church, in the south nave, the transept and the choir, replacing those destroyed over the centuries.[7]
Facade
The facade of the church was begun in 1616, well after the nave of the church, with the cornerstone laid by Louis XIII. The design was by Salomon de Brosse (1571–1626), whose other major Paris work was the Luxembourg Palace. While the nave of the church was late or flamboyant gothic, the facade introduced an entirely new classical style, which opened the way for the French Baroque. The facade placed the three classical orders of architecture one atop the other. The ground floor featured three bays with pairs of columns with capitals of the simplest Doric order, with a classical pediment. Above this is a level of three bays with columns of the ionic order, and above that is a single bay with paired columns of the Corinthian order, holding up a curved pediment. In order to attach the new facade to the gothic portion of the church, de Brosse designed a traverse and two semicircular chapels on either side of the facade. The facade served as model for other churches in France and Europe, most notably the church of Saint-Paul-Saint-Louis, the church of the Jesuits, not far away in the Marais, which was the first church in Paris built entirely in the new style. [8]
Since the Middle Ages, an elm tree has been planted in front of the church; it served as a meeting place, and a place where disputes were sometimes settled by judges. The trees were replanted regularly over the centuries. Carvings of the trees from earlier centuries are found on the walls of some of the neighboring buildings.
Nave
The nave of the church (1600–1620) is notable for its dramatic height and the simplicity and purity of its lines. While the lower level of the nave is late gothic, the upper level of the nave shows the influence of the Renaissance, with large semi-circular arches containing a series of large stained glass windows, filling the church with light. The upper windows are 21st-century, by Claude Courageux, illustrating the story of Adam and Eve, Noah's ark, and the patriarchs and their spouses. The ceiling of the nave, where the arches of the walls come together in an elaborate embroidery, symbolizes the vaults of heaven.
Choir stalls
The wooden choir stalls (16th–17th century), from the reigns of François I and Henri II, are richly carved with scenes of daily life, the different professions, and grotesque animals. Out of sight from those attending mass, they were designed as a place where the Canons of the church could relax during the service. Some of the figures were too intimate for more puritanical later centuries, and had to be censored, including a carved image of a man and woman bathing together.[8]
Chapel of the Virgin
The chapel of the Virgin, at the back of the church, has a dramatic late gothic vaulted ceiling, featuring a hanging crown of stone 2.5 meters in diameter, and abstract designs resembling flames. The room is often used for silent meditation by church visitors. The chapel has some of the oldest stained glass windows in the flamboyant gothic style, made by Jean Chastellain in 1517, illustrating the life of the Virgin Mary. [8] Another remarkable window by Chastellain, "The Judgement of Solomon", made in 1533 in the colorful Renaissance style, is found in a side chapel.
Painting and sculpture
The church contains a number of notable works of art.
- A painting by the Venetian artist Sebastiano Ricci (1659–1734), Saint Gregory the Great and Saint Vital intercede for the souls in Pugatory, located in the Chapel of Saint Philomene. This was brought from Venice to Paris by Napoleon after his Italian campaign.
- The paintings The Beheading of John the Baptist and The Adoration of the Magi by Claude Vignon (1593–1670), located in the Chapel of the Virgin.
- A statue of Christ carved in oak by Antoine-Augustin Préault (1809-1879) in the Chapel of the Virgin.
- Statues from the funeral monument of Michel Tellier (1603–1685) the Chancellor of Louis XIV, by Pierre Mazeline (1632–1685) and Simon Hurtelle (1648–1724). The figures include the Chancellor, in prayer; a weeping 'genie' praying at his feet; and two draped figures representing Faith and Religion. Two other figures from the group, Justice and Prudence, are found in the Louvre.
en.wikipedia.org/wiki/St-Gervais-et-St-Protais
---------------------------------------
St Gervais et St Protais has 21 mid 16th century misericords and 21 early 17th century misericords.
More information can be found here:-
www.misericords.co.uk/stgervaisandstprotais.html
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Saint Gervais Saint Protais Church - Paris
A church dedicated to the twin martyrs Gervais and Protais
Saint Gervais Saint Protais Church is located on the eastern side of the Hôtel-de-Ville.
It stands on a hillock known as Monceau Saint-Gervais and replaced the Chapelle Saint-Gervais-Saint-Protais.
This chapel served the fishing village that developed on the small mound during the 5th century. This community was one of the few on the Rive Droite, which then was a vast marsh today known as Marais.
The chapel was dedicated to the twin Roman officers who were martyred under the reign of Nero (1st century AD).
Place Saint-Gervais, the church square was initially called Carrefour de l'Orme. It was named after the huge elm that marked its centre and was felled at the French Revolution.
It was enlarged and renamed during Haussmann's renovation of Paris of the mid 19th century.
The cemetery was decommissioned in 1765 to give way to Place Baudoyer, the square that serves the town hall of the 4th district.
Sarcophagi and burial artifacts dating back to the 1st century AD were discovered during construction works.
Saint Gervais Saint Protais Church ,is a fine illustration of French architecture.
The Hôtel-de-Ville district developed in the 13th century and gave rise to a thriving community. The little Saint Gervais Saint Protais Chapel became obsolete, a larger church was much needed!
However, the construction of the new church dragged on from 1494 to 1660 due to the lack of funds.
Amazingly, this slow progress turned Saint Gervais Saint Protais Church into a perfect illustration of the evolution of French architecture.
Salomon de Brosse designed the French Baroque (Jesuit Style) facade with the three classical orders, the first of its style in Paris.
The 25m high Gothic Flamboyant nave and the 16th and 17th century stained glass windows are equally impressive.
Francois-Henri Clicquot built the organ in 1601. The wind-chests, reeds and two-thirds of its stops are original and turn the instrument into one of the oldest organs in Paris.
The composer François Couperin is among the prestigious organists who played in Saint Gervais Saint Protais Church, which is to this day a major centre of Sacred Music.
The church has two other, but smaller, organs which are located in the side chapels
www.travelfranceonline.com/saint-gervais-saint-protais-ch...
See also:-
www.spottinghistory.com/view/4397/st-gervais-et-st-protai...
The mosque is commonly thought to be the world's third-largest mosque after those in Mecca and Medina, and can accommodate 25,000 worshippers. Built and partially funded by King Hassan II (the remaining funds were gathered through a somewhat controversial public subscription process), the mosque complex was designed by French architect Michel Pinseau, took six years to build and was completed in 1993. Its dramatic location overhanging the ocean waves echoes verse from the Quran, which states that God’s throne was built upon the water. Believers pray on a centrally heated floor, and can see the Atlantic breaking over the rocks underneath the glass floor in the basement and feel the sunlight through the retractable roof
Taken @Casablanca, Morocco, North Africa
Some say that Véronique Perrin is all about work and no fun, but she begs to differ. Ms. Perrin shows us her softer side dressed in this most provocative, yet totally romantic look. With its dramatic black and pink contrasts and soft lace accents, this look totally gives Véronique a new smoldering attitude. This will surely help the CEO of W Cosmetics seduce a new beau or convince a powerful investor to sign on the dotted line... you decide!
REFORD GARDENS | LES JARDINS DE METIS
Coucher de soleil, Sainte-Flavie.
Visit : www.refordgardens.com/
Photo taken close to REFORD GARDENS.(Sainte-Flavie)
Mrs Elsie Reford loved those beautiful sunsets.
Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!
''I shall always, all my life, want to come back to those sunsets.'' Elsie Reford, July 20, 1913. (page 25)
" It is just after 8 o'clock and I am sitting in front of my big window with the gorgeous panorama of a glorious afterglow from a perfect sunset. There is every hue of blue on the water of 'the Blue Lagoon' while Pointe-aux-Cenelles is bathed in pink and crimson and the dark hills of the north shore seem no further than two or three miles distant. I don't think in the whole world at this moment there could be anything more beautiful." Elsie Reford, June 2, 1931. (page 81)
Beautiful flowers at Reford Gardens.
''One thing I can do that no one else can is to pass the love that I feel for this place and this woman'' Alexander Reford
Visit : www.refordgardens.com/
-----------------------------------------------------------------------------------------
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Central Coast, California.
©Dale Haussner
Big Sur is a rugged and mountainous section of the Central Coast of the U.S. state of California between Carmel Highlands and San Simeon, where the Santa Lucia Mountains rise abruptly from the Pacific Ocean. It is frequently praised for its dramatic scenery. Big Sur has been called the "longest and most scenic stretch of undeveloped coastline in the contiguous United States," a "national treasure that demands extraordinary procedures to protect it from development" and "one of the most beautiful coastlines anywhere in the world, an isolated stretch of road, mythic in reputation." The stunning views, redwood forests, hiking, beaches, and other recreational opportunities have made Big Sur a popular destination for tourists from across the world. The region receives about the same number of visitors as Yosemite National Park, which often leads to lengthy traffic back-ups and parking issues, especially during summer vacation periods and holiday weekends.
The unincorporated region encompassing Big Sur does not have specific boundaries, but is generally considered to include the 71-mile (114 km) segment of California State Route 1 between Malpaso Creek near Carmel Highlands in the north and San Carpóforo Creek near San Simeon in the south, as well as the entire Santa Lucia range between these creeks. The interior region is mostly uninhabited, while the coast remains relatively isolated and sparsely populated, with about 1,000 year-round residents and relatively few visitor accommodations scattered among four small settlements. The region remained one of the most inaccessible areas of California and the entire United States until, after 18 years of construction, the Carmel–San Simeon Highway (now signed as part of State Route 1) was completed in 1937. Along with the ocean views, this winding, narrow road, often cut into the face of towering seaside cliffs, dominates the visitor's experience of Big Sur. The highway has been closed more than 55 times by landslides, and in May 2017, a 2,000,000-cubic-foot (57,000 m3) slide blocked the highway at Mud Creek, north of Salmon Creek near the San Luis Obispo County line, to just south of Gorda. The road was reopened on July 18, 2018.
The region is protected by the Big Sur Local Coastal Plan, which preserves it as "open space, a small residential community, and agricultural ranching." Approved in 1986, the plan is one of the most restrictive local-use programs in the state, and is widely regarded as one of the most restrictive documents of its kind anywhere. The program protects viewsheds from the highway and many vantage points, and severely restricts the density of development. About 60% of the coastal region is owned by governmental or private agencies which do not allow any development. The majority of the interior region is part of the Los Padres National Forest, Ventana Wilderness, Silver Peak Wilderness or Fort Hunter Liggett.
The original Spanish-language name for the mountainous terrain south of Monterey was el país grande del sur, which means "the big country of the south." The name el Sud (also meaning "the south") was first used in the Rancho El Sur land grant made in 1834. In 1915, English-speaking settlers formally adopted "Big Sur" as the name for their post office.
Source and for more info, see:
Mount Buffalo is spectacular. Its dramatic granite cliffs, its grand vistas, its excellent bushwalking tracks, its rich wildlife (wombats, lyrebirds) and flora (snow gums, wildflowers), its excellent cross country skiing in winter and rock climbing in summer, its unusual waterfalls, and its pristine beauty all combine to make it a very special National Park. Geologists have determined that Mount Buffalo was once three times its current height (1723 m). The 31,000 ha National Park now comprises the entire plateau and most of the forested foothills. It is covered with striking rock formations and huge sheets of granite.
The mountain was named by the explorers Hume and Hovell who, seeing it in the distance, decided that it looked like a buffalo.
The Horn is the highest point on the Mt Buffalo Plateau in north-eastern Victoria.This and the following panorama were taken from The Horn Lookout which provides a 360 degree view of the surrounding valleys.
REFORD GARDENS | LES JARDINS DE METIS
COUCHER DE SOLEIL - Sainte-Flavie
Visit : www.refordgardens.com/
Photo taken close to REFORD GARDENS. (Sainte-Flavie)
Mrs Elsie Reford loved those beautiful sunsets.
Reference: Elsie's Paradise, The Reford Gardens, Alexander Reford, 2004, ISBN 2-7619-1921-1, That book is a must for Reford Gardens lovers!
''I shall always, all my life, want to come back to those sunsets.'' Elsie Reford, July 20, 1913. (page 25)
" It is just after 8 o'clock and I am sitting in front of my big window with the gorgeous panorama of a glorious afterglow from a perfect sunset. There is every hue of blue on the water of 'the Blue Lagoon' while Pointe-aux-Cenelles is bathed in pink and crimson and the dark hills of the north shore seem no further than two or three miles distant. I don't think in the whole world at this moment there could be anything more beautiful." Elsie Reford, June 2, 1931. (page 81)
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
-----------------------------------------------------------------------------------------
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Iceland, a Nordic island nation, is defined by its dramatic landscape with volcanoes, geysers, hot springs and lava fields. Massive glaciers are protected in Vatnajökull and Snæfellsjökull national parks. Most of the population lives in the capital, Reykjavik, which runs on geothermal power and is home to the National and Saga museums, tracing Iceland’s Viking history. Iceland is it the most sparsely populated country in Europe.
The 35th Desktop created for “The E82 Project”
A variation of "SeaRise" depicting the mural as seen through the prism of its dramatic lighting scheme featuring deep blue rim lighting and a single amber spotlight highlighting the mural's focal point.
Symbolizing the dynamic and interconnected relationship between the ocean, sky, and our mother star, The Living Seas Entry Mural, designed by Tim Delaney, was a modern masterpiece of multi-dimensional design. With its colorful currents and dramatic seascape refracting the sunlight, the mural not only emphases the pavilion’s theme but also accurately depicts the ratio of a planet that should have been named Sea not Earth as its surface is mostly covered by water.
Designer’s Note:
Just as with Energy’s Mural, I was dealing with the same problem of a very wide subject matter on a comparatively narrow screen. This time it was determined to have the focal point occupy more than 50% of the desktop image. In order to accomplish this I wanted to (vertically) extend the mural well beyond the confines of the original pavilion entry. Also, I had to concede that the mural could not be exhibited fully and approximately 30% of its length would have to be cropped.
Several test later, and to spite its uniquely multi-layered presentation, the desktop background was completely lacking in depth. Fast-forward a few months, and I finally hit upon a solution of multiple “backlit” Art Deco-influenced layers that would both increase depth and would maintain focus on Tim’s original masterpiece.
Point of Interest:
The waveforms below the mural are exact replicas of wavy railings that originally encircled the pavilion’s marquee.
For More Information
Please visit “E82 – The Epcot Legacy”
St Gabriel's Church is a striking historic feature of Pawarenga. Considered to have outstanding aesthetic significance for its dramatic siting and simple design, it is one of the earliest Maori churches in the Hokianga still in its original location.
St Gabriel's is also important as it reflects the spread of Catholicism in NZ and particularly early conversion of Maori in the Hokianga area. Built at Pawarenga in 1899, it has a prominent position beside Maokora pa overlooking a local marae and Whangape Harbour. The church is thought to have been opened by Father Jean Baptist Becker, one of the first two Mill Hill Fathers to arrive in NZ in 1886. It was paid for by its Maori congregation and its kauri timber is said to have been sawn by the local community with funds raised through gum digging at Waiharera.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
REFORD GARDENS | LES JARDINS DE METIS
Claudette '' making '' some photos...
Beautiful flowers at Reford Gardens.
Visit : www.refordgardens.com/
From Wikipedia:
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
Visit : www.refordgardens.com/
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
© Copyright
This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.
Saint-Gervais-Saint-Protais
Saint-Gervais-Saint-Protais is a Roman Catholic parish church located in the 4th arrondissement of Paris, on Place Saint-Gervais in the Marais district, east of City Hall (Hôtel de Ville). The current church was built between 1494 and 1657, on the site of two earlier churches; the facade, completed last, was the first example of the French baroque style in Paris. The organists of the church included Louis Couperin and his nephew François Couperin, two of the most celebrated composers and musicians of the Baroque period; the organ they used can still be seen today. The church contains remarkable examples of medieval carved choir stalls, stained glass from the 16th century, 17th century sculpture, and modern stained glass by Sylvie Gaudin and Claude Courageux. Saint-Gervais was a parish church until 1975, when it became the headquarters of the Monastic Fraternities of Jerusalem.
History
A church dedicated to Saints Gervasius and Protasius, two Christian martyrs from Milan, is recorded as existing on the site in the 7th century, making it one of the first parish churches on the right bank in Paris. It was attended mostly by boatmen and fishermen, because it was close to the river port at the Place de Grève. It was built on a slight hill, the Monceau Saint-Gervais, to be safe from the floods of the Seine. After the completion of the wall of Philippe-Auguste, built between 1190 and 1209, the neighborhood was protected against attack and the population began to grow. The church had come under the sponsorship of several of the important confreries or guilds of Paris, including the wine-merchants. With their financial help, a larger church was built on the site in the early 13th century. .[1]
Construction of the present church began in 1494, but was delayed by the Wars of religion and by a shortage of funds. It was begun in the Gothic style; the chapels of the apse were finished in 1530 and the transept in 1578.[2] While the interior of the church was largely Gothic, the facade was built in an original new style, the French Baroque, on a plan by architect Salomon de Brosse (1571–1626). The first stone of the facade was placed by the young King Louis XIII in 1616. Between 1600 and 1628, a second row of chapels was built on the north side including the golden chapel ornamented with painted woodwork.[3]
During the 17th and 18th century the church was attended by many members of the aristocratic families who lived in the Marais, including Marie de Rabutin-Chantal, marquise de Sévigné, and the Chancellor of Louis XIV, Michel Le Tellier, whose funeral monument is found in the church.
Beginning in 1653, the church employed and sheltered the Couperin family, one of the most famous dynasties of French musicians, for more than two centuries. On one side of the church, the home of the celebrated harpsichordists, organists, and composers still stands, with a plaque commemorating the Couperins' tenure. The organ used by Louis and François Couperin still exists today inside the church; it was built by the most famous organ builders of the time, François-Henri Clicquot, Louis-Alexandre Clicquot, and Robert Clicquot.
In the 18th century, the facade of the church was greatly admired, though it was nearly blocked from view by a row of houses. Voltaire wrote, "It is a masterpiece which is lacking nothing except a place from which to see it." The houses blocking the view were finally demolished in 1854, opening up the view of the facade. .[4]
During the French Revolution, the church was emptied of many of its treasures and turned into a Temple of Reason and Youth, before being returned to the Church in 1802.
On 29 March 1918, a German shell, fired by the long-range "Paris Gun", fell on the church, killing 91 people and wounding 68 others; the explosion collapsed the roof when a Good Friday service was in progress. This was the worst single incident involving a loss of civilian lives during the German bombardment of Paris in 1918.[5] Among those killed was Rose-Marie Ormond Andre-Michel, the niece and a favorite model of John Singer Sargent.[6]
In 1975 the church became the headquarters of the Monastic Fraternities of Jerusalem, founded in that same year by Père Pierre-Marie Delfieu with the authorisation of the then Archbishop of Paris, François Marty. The order is devoted to carrying on monastic life in an urban context; most of its members work part-time in civil occupations. The church is known for its distinctive and ecumenical liturgy; for example, adopting Lutheran hymn music and Orthodox troparia. The order has founded several other communities in France, at Mont St. Michel, Vezelay, and Magdala Sologne and elsewhere in Europe, in Florence, Brussels, Cologne, Warsaw, and Montreal.
Five new stained glass windows by Sylvie Gaudin were added to the southwest chevet of the church in 1993–95. Another series of six windows by Claude Courageux was added in the early 2000s in the upper level of the church, in the south nave, the transept and the choir, replacing those destroyed over the centuries.[7]
Facade
The facade of the church was begun in 1616, well after the nave of the church, with the cornerstone laid by Louis XIII. The design was by Salomon de Brosse (1571–1626), whose other major Paris work was the Luxembourg Palace. While the nave of the church was late or flamboyant gothic, the facade introduced an entirely new classical style, which opened the way for the French Baroque. The facade placed the three classical orders of architecture one atop the other. The ground floor featured three bays with pairs of columns with capitals of the simplest Doric order, with a classical pediment. Above this is a level of three bays with columns of the ionic order, and above that is a single bay with paired columns of the Corinthian order, holding up a curved pediment. In order to attach the new facade to the gothic portion of the church, de Brosse designed a traverse and two semicircular chapels on either side of the facade. The facade served as model for other churches in France and Europe, most notably the church of Saint-Paul-Saint-Louis, the church of the Jesuits, not far away in the Marais, which was the first church in Paris built entirely in the new style. [8]
Since the Middle Ages, an elm tree has been planted in front of the church; it served as a meeting place, and a place where disputes were sometimes settled by judges. The trees were replanted regularly over the centuries. Carvings of the trees from earlier centuries are found on the walls of some of the neighboring buildings.
Nave
The nave of the church (1600–1620) is notable for its dramatic height and the simplicity and purity of its lines. While the lower level of the nave is late gothic, the upper level of the nave shows the influence of the Renaissance, with large semi-circular arches containing a series of large stained glass windows, filling the church with light. The upper windows are 21st-century, by Claude Courageux, illustrating the story of Adam and Eve, Noah's ark, and the patriarchs and their spouses. The ceiling of the nave, where the arches of the walls come together in an elaborate embroidery, symbolizes the vaults of heaven.
Choir stalls
The wooden choir stalls (16th–17th century), from the reigns of François I and Henri II, are richly carved with scenes of daily life, the different professions, and grotesque animals. Out of sight from those attending mass, they were designed as a place where the Canons of the church could relax during the service. Some of the figures were too intimate for more puritanical later centuries, and had to be censored, including a carved image of a man and woman bathing together.[8]
Chapel of the Virgin
The chapel of the Virgin, at the back of the church, has a dramatic late gothic vaulted ceiling, featuring a hanging crown of stone 2.5 meters in diameter, and abstract designs resembling flames. The room is often used for silent meditation by church visitors. The chapel has some of the oldest stained glass windows in the flamboyant gothic style, made by Jean Chastellain in 1517, illustrating the life of the Virgin Mary. [8] Another remarkable window by Chastellain, "The Judgement of Solomon", made in 1533 in the colorful Renaissance style, is found in a side chapel.
Painting and sculpture
The church contains a number of notable works of art.
- A painting by the Venetian artist Sebastiano Ricci (1659–1734), Saint Gregory the Great and Saint Vital intercede for the souls in Pugatory, located in the Chapel of Saint Philomene. This was brought from Venice to Paris by Napoleon after his Italian campaign.
- The paintings The Beheading of John the Baptist and The Adoration of the Magi by Claude Vignon (1593–1670), located in the Chapel of the Virgin.
- A statue of Christ carved in oak by Antoine-Augustin Préault (1809-1879) in the Chapel of the Virgin.
- Statues from the funeral monument of Michel Tellier (1603–1685) the Chancellor of Louis XIV, by Pierre Mazeline (1632–1685) and Simon Hurtelle (1648–1724). The figures include the Chancellor, in prayer; a weeping 'genie' praying at his feet; and two draped figures representing Faith and Religion. Two other figures from the group, Justice and Prudence, are found in the Louvre.
en.wikipedia.org/wiki/St-Gervais-et-St-Protais
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St Gervais et St Protais has 21 mid 16th century misericords and 21 early 17th century misericords.
More information can be found here:-
www.misericords.co.uk/stgervaisandstprotais.html
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Saint Gervais Saint Protais Church - Paris
A church dedicated to the twin martyrs Gervais and Protais
Saint Gervais Saint Protais Church is located on the eastern side of the Hôtel-de-Ville.
It stands on a hillock known as Monceau Saint-Gervais and replaced the Chapelle Saint-Gervais-Saint-Protais.
This chapel served the fishing village that developed on the small mound during the 5th century. This community was one of the few on the Rive Droite, which then was a vast marsh today known as Marais.
The chapel was dedicated to the twin Roman officers who were martyred under the reign of Nero (1st century AD).
Place Saint-Gervais, the church square was initially called Carrefour de l'Orme. It was named after the huge elm that marked its centre and was felled at the French Revolution.
It was enlarged and renamed during Haussmann's renovation of Paris of the mid 19th century.
The cemetery was decommissioned in 1765 to give way to Place Baudoyer, the square that serves the town hall of the 4th district.
Sarcophagi and burial artifacts dating back to the 1st century AD were discovered during construction works.
Saint Gervais Saint Protais Church ,is a fine illustration of French architecture.
The Hôtel-de-Ville district developed in the 13th century and gave rise to a thriving community. The little Saint Gervais Saint Protais Chapel became obsolete, a larger church was much needed!
However, the construction of the new church dragged on from 1494 to 1660 due to the lack of funds.
Amazingly, this slow progress turned Saint Gervais Saint Protais Church into a perfect illustration of the evolution of French architecture.
Salomon de Brosse designed the French Baroque (Jesuit Style) facade with the three classical orders, the first of its style in Paris.
The 25m high Gothic Flamboyant nave and the 16th and 17th century stained glass windows are equally impressive.
Francois-Henri Clicquot built the organ in 1601. The wind-chests, reeds and two-thirds of its stops are original and turn the instrument into one of the oldest organs in Paris.
The composer François Couperin is among the prestigious organists who played in Saint Gervais Saint Protais Church, which is to this day a major centre of Sacred Music.
The church has two other, but smaller, organs which are located in the side chapels
www.travelfranceonline.com/saint-gervais-saint-protais-ch...
See also:-
www.spottinghistory.com/view/4397/st-gervais-et-st-protai...
Wrapping up my Southern Arizona Adventure 2024 with a visit to Amerind Foundation and Texas Canyon. This is stage 9 of 9.
travelasker.com/what-is-the-formation-process-of-texas-ca...
Formation and composition of rocks
The rocks in Texas Canyon are primarily composed of granite, gneiss, and schist. These rocks were formed through a process of geological metamorphism, which changed their composition and structure over time. Granite is one of the most common types of rock found in the area and is known for its distinctive pink color. Gneiss and schist are also common and are known for their unique textures and patterns.
Erosion and weathering played a significant role in shaping the landscape of Texas Canyon. Over time, the rocks in the area were subjected to intense weathering, which caused them to break down and form the distinctive boulder formations that are found throughout the canyon. Erosion also played a role in shaping the landscape, as the water that flowed through the area created deep gullies and canyons that are still visible today.
Formation of the unique boulder formations
The unique boulder formations in Texas Canyon were formed through a combination of tectonic forces, erosion, and weathering. The rocks in the area were subjected to immense pressure, which caused them to fracture and crack. Over time, the cracks were widened by the forces of erosion, creating the distinctive boulder formations that are found throughout the canyon.
www.amerind.org/texascanyonnaturepreserve/
Chat GPT
Texas Canyon is a striking natural area located in Cochise County, southeastern Arizona, along Interstate 10 between Benson and Willcox. It is renowned for its dramatic landscape, characterized by massive granite boulders scattered across the desert terrain, creating a rugged and picturesque environment.
The granite boulders in Texas Canyon were formed through millions of years of erosion and weathering. These formations, often precariously balanced, provide a unique and photogenic sight, making the canyon a popular stop for travelers and photographers.
The area is surrounded by the Chiricahua Mountains to the south and other nearby ranges, offering expansive views of the Sonoran Desert with its mix of desert vegetation, including cacti and mesquite trees. The light, especially at sunrise and sunset, enhances the golden hues of the rocks, adding to the area's charm.
Texas Canyon has a rich history tied to the Chiricahua Apache people, who once roamed these lands. Later, it became home to early settlers.
en.wikipedia.org/wiki/Texas_Canyon
Texas Canyon is a valley in Cochise County, Arizona,[1] about 20 miles east of Benson on Interstate 10. Lying between the Little Dragoon Mountains to the north and the Dragoon Mountains to the south and known for its giant granite boulders, the canyon attracts rockhounds and photographers.
www.arizonahighways.com/article/texas-canyon-nature-preserve
The giant granite boulders along Interstate 10 in Southeastern Arizona have been gracing postcards for decades, but that otherworldly landscape was always off-limits to the general public. Not anymore. Thanks to the Amerind Foundation, 6 miles of trails in the brand-new Texas Canyon Nature Preserve are now available to those who want a closer look.
By Suzanne Wright
Zipping past Texas Canyon, an hour southeast of Tucson, it's impossible not to notice the boulders â giant, eye-catching piles of granite, like something out of The Flintstones. But other than providing scenery along Interstate 10 â particularly at a rest area just down the highway from the kitschy attraction known as The Thing â the area has long been off-limits to curious travelers who wanted to stretch their legs and get a closer look.
There are several private landowners in Texas Canyon, including Triangle T Guest Ranch, which has some trails for its guests. But none had opened its trails to the public until this past October, when the portion of the area owned and managed by the Amerind Foundation had its ribbon-cutting. After a multi-year campaign that raised $250,000, the Texas Canyon Nature Preserve â on land previously closed to the public for 85 years, and where the organization's founding family raised quarter horses until 1968 â is open to all.
The idea had been percolating with the Amerind Foundation board and management for years, says Eric Kaldahl, the president, CEO and chief curator of the foundation. The response from the surrounding community has been very enthusiastic. We welcomed more visitors last October than we've seen for the past 10 years.
The preserve, located just off I-10 between Benson and Willcox, is part of a 1,900-acre campus that includes the Amerind Museum. More than 6 miles of trails wind past balanced rocks, fantastical shapes and rocky spires in open, sun-warmed high-desert grasslands studded with cactuses, wildflowers and trees. The trail is self-guided, although Kaldahl hopes to offer guided sunrise and sunset hikes in the next year. Visitors can pay a $12 admission fee for just the trails or $20 to visit both the trails and the museum.
Trail designer Sirena Rana knows the landscape can look intimidating, but she purposely designed the trails to be perfect little morsels. Rana didn't grow up hiking, so she aimed to make the trails a comfortable experience for all ages and abilities. There are no steep elevation gains, and dirt, rather than gravel, makes for more stability. And Rana recalls walking for miles and miles over several months to understand the land and ensure the trails were constructed to shed water, limit erosion and provide firebreaks.
Texas Canyon is one of the most unique landscapes in the Southwest, formed by millions of years of wind and rain weathering the granite, she says, likening it to Joshua Tree National Park and the Wilderness of Rock on Mount Lemmon. It's very unusual that it's right off a major interstate and just an hour from a major metropolitan area, she adds. This is one of the greatest outdoor sculpture gardens in the world designed by Mother Nature. I'm so pleased with how it turned out.
Elsewhere along the trail, signage reflects the Amerind Museum's mission of fostering knowledge and understanding of Indigenous peoples. Acknowledging that these are ancestral lands, the signs feature O'odham, English and Spanish text, in that order â and Kaldahl hopes to add Apache, too.
Additionally, Indigenous people have collected basket-weaving materials from these lands for generations, and they remain free to access the grounds.
Haiku Thoughts:
Stone giants whisper,
Texas Canyon's quiet grace,
Time's hand carves the sky.
Southern Arizona Adventure 2024
Port Isaac is a fishing village on the North Cornish coast that is so charming that everyone falls in love with the place (I did!!). Port Isaac surrounds a picturesque harbour and nestles in a narrow sheltered valley, with whitewashed cottages crowding the narrow streets and alleyways (one is so narrow that it is affectionately called Squeezeebelly alley).
Most of the centre of the village consists of 18th and 19th century cottages situated along the narrow valley and slowly creeping up the steep hillsides. The character of the old fishing village permeates the air and its dramatic setting, under high, rocky cliffs gives the whole area a timeless feel.
The bust of the consul - general Lucius Cornelius Sulla Felix (c. 138 BC – 78 BC); it still bears today the illustrations name that were bestowed upon them long ago, although a convincing identification of the depicted person has not hitherto been made.
The portrait, with its life-like turn of the head and its dramatic facial expression, recalls Hellenistic images.
(from C.H. Beck’s book, Glyptothek, Munich)
Roman marble portrait
End of the 1st cent. BC
Munich, Glyptothek
This Passion Vine (Passiflora vitifolia) grows along fences, over shrubs and garages here in South Florida. The leaves are glossy and grape-leaf like. But what will simply knock your socks off are its dramatic, outrageous flowers! Surely they come from another planet! But no, they come from South America.
Legend and romance surround the passion flower - legend because of historical associations with Christianity. And romance because of its suggestion of romantic passion. Early explorers and missionaries to the Southern hemisphere named these dramatic vines Passiflora or Passion Flower to help in their conversion of native Americans to Christianity. They used the beautiful intricate flower parts to tell the story of the death of Jesus, making the story more memorable to listeners. The family name, Passifloraceae, means "Flower of the Passion" or "Flower of the Cross."
The color symbolized the blood shed on the cross; the 10 petals and sepals represented the 10 apostles present of the crucifixion; the 5 stamens, the 5 wounds, the 3 styles, the 3 nails ( or, in some versions, Christ and the 2 thieves crucified with him); the vine tendrils, the ropes and scourges; the 3 secondary leaf bracts, the holy trinity. The flower is usually open 3 days representing the 3 years of Christ's ministry on Earth. Source: Florida's Fabulous Flowers, Their Stories by Winston Williams.
See my set Passionate Passion Vines for more pictures of this amazing exotic, erotic flower.
Biscayne Park, FL
Crarae Garden is a tranquil site, with its dramatic gorge, rippling burn, waterfalls and cliffs. The informal hillside layout of mature woody plants radiating out from the burn creates a wonderful natural effect.
Near the banks of Loch Fyne, on the west coast, immerse yourself in Britain's finest example of an exotic Himalayan-style woodland garden.
Hanging Rock, located in central Victoria, Australia, is a striking geological formation known for its dramatic granite outcrops and eerie beauty. Rising 105 meters above the surrounding landscape, the rock is part of the Macedon Ranges and is surrounded by dense forests, making it a popular destination for hikers and nature enthusiasts. The site is culturally significant to the local Wurundjeri people, who have a deep connection to the land, and it features in many stories and traditions passed down through generations.
Hanging Rock is also famous in literary history, primarily due to Joan Lindsay's 1967 novel Picnic at Hanging Rock, which has captivated readers with its mysterious, unsettling narrative. The story, set in 1900, tells of the inexplicable disappearance of a group of schoolgirls and their teacher during a picnic at the rock, blending fiction with elements of folklore. The novel has been adapted into a film and remains a key part of Australian cultural identity, contributing to the mythos surrounding Hanging Rock as a place of mystery and intrigue.
Rauðfeldssgjá, which translates to Red-Cloak Rift, is a beautiful gorge in Botnsfjall Mountain on the Snæfellsnes Peninsula. In the summer, it is possible to walk up to and climb inside it.
Rauðfelsdsgjá is mentioned in a saga called Bárðar Saga Snæfellsáss, which was written in the 14th Century about events half a millennium before. The first part of the saga follows the half-giant Bárðar, who upon death later became the guardian spirit of the Snæfellsnes Peninsula.
It was said that his daughters would play with the local boys. One of these boys pushed one of his daughters out to sea on an iceberg, where she drifted all the way to Greenland. Here, she found a lover, but Barður, thinking she was dead, punished this boy and his brother by throwing them into Rauðfelsdsgjá gorge (guidetoiceland)
The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach
I'm returning now to photos from the Iceland Cruise that ended in a disaster for us! These were taken as we boarded and sailed from Liverpool. This group starts the 'travelogue' with some photos of the splendid 'Three Graces'. For those who have followed this journey for the last few months up to its dramatic end - I hope that you enjoyed it!
Saint-Gervais-Saint-Protais
Saint-Gervais-Saint-Protais is a Roman Catholic parish church located in the 4th arrondissement of Paris, on Place Saint-Gervais in the Marais district, east of City Hall (Hôtel de Ville). The current church was built between 1494 and 1657, on the site of two earlier churches; the facade, completed last, was the first example of the French baroque style in Paris. The organists of the church included Louis Couperin and his nephew François Couperin, two of the most celebrated composers and musicians of the Baroque period; the organ they used can still be seen today. The church contains remarkable examples of medieval carved choir stalls, stained glass from the 16th century, 17th century sculpture, and modern stained glass by Sylvie Gaudin and Claude Courageux. Saint-Gervais was a parish church until 1975, when it became the headquarters of the Monastic Fraternities of Jerusalem.
History
A church dedicated to Saints Gervasius and Protasius, two Christian martyrs from Milan, is recorded as existing on the site in the 7th century, making it one of the first parish churches on the right bank in Paris. It was attended mostly by boatmen and fishermen, because it was close to the river port at the Place de Grève. It was built on a slight hill, the Monceau Saint-Gervais, to be safe from the floods of the Seine. After the completion of the wall of Philippe-Auguste, built between 1190 and 1209, the neighborhood was protected against attack and the population began to grow. The church had come under the sponsorship of several of the important confreries or guilds of Paris, including the wine-merchants. With their financial help, a larger church was built on the site in the early 13th century. .[1]
Construction of the present church began in 1494, but was delayed by the Wars of religion and by a shortage of funds. It was begun in the Gothic style; the chapels of the apse were finished in 1530 and the transept in 1578.[2] While the interior of the church was largely Gothic, the facade was built in an original new style, the French Baroque, on a plan by architect Salomon de Brosse (1571–1626). The first stone of the facade was placed by the young King Louis XIII in 1616. Between 1600 and 1628, a second row of chapels was built on the north side including the golden chapel ornamented with painted woodwork.[3]
During the 17th and 18th century the church was attended by many members of the aristocratic families who lived in the Marais, including Marie de Rabutin-Chantal, marquise de Sévigné, and the Chancellor of Louis XIV, Michel Le Tellier, whose funeral monument is found in the church.
Beginning in 1653, the church employed and sheltered the Couperin family, one of the most famous dynasties of French musicians, for more than two centuries. On one side of the church, the home of the celebrated harpsichordists, organists, and composers still stands, with a plaque commemorating the Couperins' tenure. The organ used by Louis and François Couperin still exists today inside the church; it was built by the most famous organ builders of the time, François-Henri Clicquot, Louis-Alexandre Clicquot, and Robert Clicquot.
In the 18th century, the facade of the church was greatly admired, though it was nearly blocked from view by a row of houses. Voltaire wrote, "It is a masterpiece which is lacking nothing except a place from which to see it." The houses blocking the view were finally demolished in 1854, opening up the view of the facade. .[4]
During the French Revolution, the church was emptied of many of its treasures and turned into a Temple of Reason and Youth, before being returned to the Church in 1802.
On 29 March 1918, a German shell, fired by the long-range "Paris Gun", fell on the church, killing 91 people and wounding 68 others; the explosion collapsed the roof when a Good Friday service was in progress. This was the worst single incident involving a loss of civilian lives during the German bombardment of Paris in 1918.[5] Among those killed was Rose-Marie Ormond Andre-Michel, the niece and a favorite model of John Singer Sargent.[6]
In 1975 the church became the headquarters of the Monastic Fraternities of Jerusalem, founded in that same year by Père Pierre-Marie Delfieu with the authorisation of the then Archbishop of Paris, François Marty. The order is devoted to carrying on monastic life in an urban context; most of its members work part-time in civil occupations. The church is known for its distinctive and ecumenical liturgy; for example, adopting Lutheran hymn music and Orthodox troparia. The order has founded several other communities in France, at Mont St. Michel, Vezelay, and Magdala Sologne and elsewhere in Europe, in Florence, Brussels, Cologne, Warsaw, and Montreal.
Five new stained glass windows by Sylvie Gaudin were added to the southwest chevet of the church in 1993–95. Another series of six windows by Claude Courageux was added in the early 2000s in the upper level of the church, in the south nave, the transept and the choir, replacing those destroyed over the centuries.[7]
Facade
The facade of the church was begun in 1616, well after the nave of the church, with the cornerstone laid by Louis XIII. The design was by Salomon de Brosse (1571–1626), whose other major Paris work was the Luxembourg Palace. While the nave of the church was late or flamboyant gothic, the facade introduced an entirely new classical style, which opened the way for the French Baroque. The facade placed the three classical orders of architecture one atop the other. The ground floor featured three bays with pairs of columns with capitals of the simplest Doric order, with a classical pediment. Above this is a level of three bays with columns of the ionic order, and above that is a single bay with paired columns of the Corinthian order, holding up a curved pediment. In order to attach the new facade to the gothic portion of the church, de Brosse designed a traverse and two semicircular chapels on either side of the facade. The facade served as model for other churches in France and Europe, most notably the church of Saint-Paul-Saint-Louis, the church of the Jesuits, not far away in the Marais, which was the first church in Paris built entirely in the new style. [8]
Since the Middle Ages, an elm tree has been planted in front of the church; it served as a meeting place, and a place where disputes were sometimes settled by judges. The trees were replanted regularly over the centuries. Carvings of the trees from earlier centuries are found on the walls of some of the neighboring buildings.
Nave
The nave of the church (1600–1620) is notable for its dramatic height and the simplicity and purity of its lines. While the lower level of the nave is late gothic, the upper level of the nave shows the influence of the Renaissance, with large semi-circular arches containing a series of large stained glass windows, filling the church with light. The upper windows are 21st-century, by Claude Courageux, illustrating the story of Adam and Eve, Noah's ark, and the patriarchs and their spouses. The ceiling of the nave, where the arches of the walls come together in an elaborate embroidery, symbolizes the vaults of heaven.
Choir stalls
The wooden choir stalls (16th–17th century), from the reigns of François I and Henri II, are richly carved with scenes of daily life, the different professions, and grotesque animals. Out of sight from those attending mass, they were designed as a place where the Canons of the church could relax during the service. Some of the figures were too intimate for more puritanical later centuries, and had to be censored, including a carved image of a man and woman bathing together.[8]
Chapel of the Virgin
The chapel of the Virgin, at the back of the church, has a dramatic late gothic vaulted ceiling, featuring a hanging crown of stone 2.5 meters in diameter, and abstract designs resembling flames. The room is often used for silent meditation by church visitors. The chapel has some of the oldest stained glass windows in the flamboyant gothic style, made by Jean Chastellain in 1517, illustrating the life of the Virgin Mary. [8] Another remarkable window by Chastellain, "The Judgement of Solomon", made in 1533 in the colorful Renaissance style, is found in a side chapel.
Painting and sculpture
The church contains a number of notable works of art.
- A painting by the Venetian artist Sebastiano Ricci (1659–1734), Saint Gregory the Great and Saint Vital intercede for the souls in Pugatory, located in the Chapel of Saint Philomene. This was brought from Venice to Paris by Napoleon after his Italian campaign.
- The paintings The Beheading of John the Baptist and The Adoration of the Magi by Claude Vignon (1593–1670), located in the Chapel of the Virgin.
- A statue of Christ carved in oak by Antoine-Augustin Préault (1809-1879) in the Chapel of the Virgin.
- Statues from the funeral monument of Michel Tellier (1603–1685) the Chancellor of Louis XIV, by Pierre Mazeline (1632–1685) and Simon Hurtelle (1648–1724). The figures include the Chancellor, in prayer; a weeping 'genie' praying at his feet; and two draped figures representing Faith and Religion. Two other figures from the group, Justice and Prudence, are found in the Louvre.
en.wikipedia.org/wiki/St-Gervais-et-St-Protais
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St Gervais et St Protais has 21 mid 16th century misericords and 21 early 17th century misericords.
More information can be found here:-
www.misericords.co.uk/stgervaisandstprotais.html
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Saint Gervais Saint Protais Church - Paris
A church dedicated to the twin martyrs Gervais and Protais
Saint Gervais Saint Protais Church is located on the eastern side of the Hôtel-de-Ville.
It stands on a hillock known as Monceau Saint-Gervais and replaced the Chapelle Saint-Gervais-Saint-Protais.
This chapel served the fishing village that developed on the small mound during the 5th century. This community was one of the few on the Rive Droite, which then was a vast marsh today known as Marais.
The chapel was dedicated to the twin Roman officers who were martyred under the reign of Nero (1st century AD).
Place Saint-Gervais, the church square was initially called Carrefour de l'Orme. It was named after the huge elm that marked its centre and was felled at the French Revolution.
It was enlarged and renamed during Haussmann's renovation of Paris of the mid 19th century.
The cemetery was decommissioned in 1765 to give way to Place Baudoyer, the square that serves the town hall of the 4th district.
Sarcophagi and burial artifacts dating back to the 1st century AD were discovered during construction works.
Saint Gervais Saint Protais Church ,is a fine illustration of French architecture.
The Hôtel-de-Ville district developed in the 13th century and gave rise to a thriving community. The little Saint Gervais Saint Protais Chapel became obsolete, a larger church was much needed!
However, the construction of the new church dragged on from 1494 to 1660 due to the lack of funds.
Amazingly, this slow progress turned Saint Gervais Saint Protais Church into a perfect illustration of the evolution of French architecture.
Salomon de Brosse designed the French Baroque (Jesuit Style) facade with the three classical orders, the first of its style in Paris.
The 25m high Gothic Flamboyant nave and the 16th and 17th century stained glass windows are equally impressive.
Francois-Henri Clicquot built the organ in 1601. The wind-chests, reeds and two-thirds of its stops are original and turn the instrument into one of the oldest organs in Paris.
The composer François Couperin is among the prestigious organists who played in Saint Gervais Saint Protais Church, which is to this day a major centre of Sacred Music.
The church has two other, but smaller, organs which are located in the side chapels
www.travelfranceonline.com/saint-gervais-saint-protais-ch...
See also:-
www.spottinghistory.com/view/4397/st-gervais-et-st-protai...
Badlands National Park is in South Dakota. Its dramatic landscapes span layered rock formations, steep canyons and towering spires. Bison, bighorn sheep and prairie dogs inhabit its sprawling grasslands. The Badlands Loop Road (Highway 240) winds past scenic lookouts. Several trails begin near the Ben Reifel Visitor Center. The Fossil Exhibit Trail is a boardwalk with displays on fossils uncovered in the park.
LES JARDINS DE MÉTIS | REFORD GARDENS
Visit: www.refordgardens.com/
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Le tamia rayé ou tamia strié (Tamias striatus), appelé aussi suisse en Amérique du Nord.
Visit : en.wikipedia.org/wiki/Chipmunk
Chipmunks are small, striped rodents of the family Sciuridae. Chipmunks are found in North America, with the exception of the Siberian chipmunk which is found primarily in Asia.
Chipmunks have an omnivorous diet primarily consisting of seeds, nuts and other fruits, and buds. They also commonly eat grass, shoots, and many other forms of plant matter, as well as fungi, insects and other arthropods, small frogs, worms, and bird eggs. Around humans, chipmunks can eat cultivated grains and vegetables, and other plants from farms and gardens, so they are sometimes considered pests. Chipmunks mostly forage on the ground, but they climb trees to obtain nuts such as hazelnuts and acorns. At the beginning of autumn, many species of chipmunk begin to stockpile nonperishable foods for winter. They mostly cache their foods in a larder in their burrows and remain in their nests until spring, unlike some other species which make many small caches of food. Cheek pouches allow chipmunks to carry food items to their burrows for either storage or consumption.
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From Wikipedia:
Visit : en.wikipedia.org/wiki/Elsie_Reford
Elsie Stephen Meighen - born January 22, 1872, Perth, Ontario - and Robert Wilson Reford - born in 1867, Montreal - got married on June 12, 1894.
Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.
Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.
She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.
In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.
During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.
In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.
Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.
To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.
Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.
In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)
Visit : en.wikipedia.org/wiki/Elsie_Reford
LES JARDINS DE MÉTIS
Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.
Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.
Commission des lieux et monuments historiques du Canada
Historic Sites and Monuments Board of Canada.
Gouvernement du Canada – Government of Canada
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Djupalonssandur is a beautiful pebbled beach, with a series of rocks of mysterious form emerging from the ocean.
It is one of the few areas that lead down to the sea along this coast with its high dramatic cliffs. Watch out for the famous ghosts roaming the place!
The rests of a shipwreck can be seen on the beach. On the beach there are also big stones which people tried to lift and test their strength in the days of the fishing stations: Fully Strong 154 kg, Half-Strong 100 kg, Weakling 54 kg and Bungler 23 kg. Weakling marked the frontier of wimphood, any man who couldn't lift it was deemed unsuitable for a life as a fisherman. (west.is)
The Snæfellsnes Peninsula is a region in western Iceland known for its dramatic landscapes. At its western tip, Snæfellsjökull National Park is dominated by Snæfellsjökull Volcano, which is topped by a glacier. Nearby, a trail leads through lava fields to black-pebble beach
Damaraland is a geographic and cultural region in northwestern Namibia, known for its dramatic landscapes, desert-adapted wildlife, and rich indigenous heritage.
Key Features
Location: Between the Skeleton Coast to the west and the Etosha region to the east. Major towns include Khorixas and Uis.
People: Traditionally inhabited by the Damara people—one of Namibia’s oldest cultural groups.
Landscape: Rugged mountains, vast semi-desert plains, and iconic natural formations such as:
Brandberg Mountain (Namibia’s highest peak, home to the famous White Lady rock painting)
Twyfelfontein (a UNESCO World Heritage Site with thousands of ancient rock engravings)
Organ Pipes, Burnt Mountain, and dramatic basalt formations
Wildlife: Known for desert-adapted elephants, black rhinos, giraffes, and other wildlife that survive in extremely arid conditions.
There is a danger of running out of superlatives when trying to describe Beverley Minster. It is not only the second finest non-cathedral church in the country but is architecturally a far finer building than most of our cathedrals themselves! It will come as a surprise to many visitors to find this grand edifice simply functions today as a parish church and has never been more than collegiate, a status it lost at the Reformaton. What had added to its mystique and wealth was its status as a place of pilgrimage housing the tomb of St John of Beverley, which drew visitors and revenue until the Reformation brought an end to such fortunes and the shrine was destroyed (though the saint's bones were later rediscovered and reinterred in the nave). That this great church itself survived this period almost intact is little short of a miracle in itself.
There has been a church here since the 8th century but little remains of the earlier buildings aside from the Saxon chair near the altar and the Norman font in the nave. The present Minster's construction spans the entirety of the development of Gothic architecture but forms a surprisingly harmonious whole nevertheless, starting with Early English in the 13h century choir and transepts (both pairs) with their lancet windows in a building phase that stopped at the first bays of the nave. Construction was then continued with the nave in the 14th century but only the traceried windows betray the emergent Decorated style, the design otherwise closely followed the work of the previous century which gives the Minster's interior such a pleasingly unified appearance (the only discernable break in construction within can be seen where the black purbeck-marble ceased to be used for certain elements beyond the eastern bay of the nave). Finally the building was completed more or less by 1420 with the soaring west front with its dramatic twin-towers in Perpendicular style (the east window must have been enlarged at this point too to match the new work at the west end).
The fabric happily survived the Reformation intact aside from the octagonal chapter-house formerly adjoining the north choir aisle which was dismantled to raise money by the sale of its materials while the church's fate was in the balance (a similar fate was contemplated for the rest of the church by its new owners until the town bought it for retention as a parish church for £100). The great swathes of medieval glass alas were mostly lost, though seemingly as much to neglect and storm-damage in the following century than the usual iconoclasm. All that survived of the Minster's original glazing was collected to form the patchwork display now filling the great east window, a colourful kaleidoscope of fragments of figures and scenes. Of the other furnishings the choir stalls are the major ensemble and some of the finest medieval canopied stalls extant with a full set of charming misericords (though most of these alas are not normally on show).
There are suprisingly few monuments of note for such an enormous cathedral-like church, but the one major exception makes up for this, the delightful canopied Percy tomb erected in 1340 to the north of the high altar. The tomb itself is surprisingly plain without any likeness remaining of the deceased, but the richly carved Decorated canopy above is alive with gorgeous detail and figurative embellishments. There are further carvings to enjoy adorning the arcading that runs around the outer perimeter of the interior, especially the north nave aisle which has the most rewarding carved figures of musicians, monsters and people suffering various ailments, many were largely restored in the 19th century but still preserve the medieval spirit of irreverent fun.
To summarise Beverley Minster would be difficult other than simply adding that if one enjoys marvelling at Gothic architecture at its best then it really shouldn't be missed and one should prioritise it over the majority of our cathedrals. It is a real gem and a delight to behold, and is happily normally open and welcoming to visitors (who must all be astonished to find this magnificent edifice is no more than a simple parish church in status!). I thoroughly enjoyed this, my second visit here (despite the best efforts of the poor weather!).
View Large on Black at www.thewindypixel.com!
The Chicago Board of Trade sits at the southern end of LaSalle in the financial district. To say that it is an oft-photographed building would be an understatement of extreme proportions. Chicago has very few streets that jog or end abruptly and therefore there are only a select few buildings presented with the opportunity to cap the end of a long urban canyon. What we lack in quantity, the CBOT makes up for in quality with its classic Art Decco style, its pleasing and dramatic lighting and its dramatic and unique rooftop statue of Ceres. On its eastern side, the building has a wonderful Art Decco fountain that babbles as diners enjoy alfresco seating. I strapped on the 14mm ultra wide angle, dropped my tripod all the way to the ground and captured a dramatic view of the fountain and the tower buildings beyond.
The vibrant heart of Osaka’s Dotonbori district comes alive with the dazzling Glico Running Man sign, an iconic symbol of Japanese pop culture and local pride. Towering above the bustling canal, this LED-lit marvel features a victorious athlete crossing a finish line, a metaphor for perseverance and achievement that resonates with Osaka's energetic spirit. Originally installed in 1935 as a neon masterpiece, the sign has evolved alongside the city, with its current version upgraded to high-resolution LED in 2014.
Positioned alongside an array of equally captivating advertisements, the Glico sign overlooks Ebisubashi Bridge, a favorite spot for tourists and locals to snap selfies and soak in the electric atmosphere of Dotonbori. The area itself is a sensory feast, offering tantalizing street food, vibrant nightlife, and the perfect stage for Osaka's renowned humor and hospitality. The sign, a celebration of Glico's legacy as a confectionery giant, has transcended its commercial roots to become a cultural icon, drawing millions of visitors each year.
The juxtaposition of tradition and modernity makes this site uniquely Osaka. The surrounding area is steeped in history, with Dotonbori dating back to the 1600s when it flourished as a theater district. Today, it retains its dramatic flair, amplified by dazzling signage, lively crowds, and the constant hum of activity. Whether you’re marveling at the Running Man at night or enjoying a leisurely stroll along the canal, this landmark is a quintessential Osaka experience that blends nostalgia with innovation.
View from Mt Difficulty winery and restaurant where we had lunch. March 6, 2014 South Island, New Zealand.
Mt Difficulty Wines is located in Bannockburn and the Cellar Door at Mt Difficulty Wines is known as much for its dramatic views of rugged rock and thyme landscapes as it is for its stylish wine and food.
All wines that carry the Mt Difficulty Bannockburn Estate label are subject to two strict criteria: they have to be sourced from vineyards situated in a very specific area – Bannockburn, south of the Kawarau River – and they are to be under the umbrella of the Mt Difficulty management team. The reasons for these self-imposed constraints are that we believe this to be an area with very special qualities for growing grapes, and that the management of the vineyard is reflected in the quality of the ultimate product.
For More Info: www.mtdifficulty.co.nz/vineyards/bannockburn-map.html
A Genuine Example of One of the Eleven 1971 Hemi ‘Cuda Convertibles
500+hp, 425hp rated, 426 cu. in. vee eight-cylinder engine, dual four-barrel carburetors, four-speed manual transmission, Hurst pistol grip shifter, independent front suspension with torsion bars, live axle rear suspension with semi-elliptical leaf springs, front disc, rear drum power assisted hydraulic brakes. Wheelbase: 108"
Three times Chrysler Corporation has relied upon the Hemi to transform its products and image from dull to sparkling, and three times the Hemi has delivered. In an American car market that has been characterized by glitz, fins and bulk, the technical sophistication of Chrysler’s hemispherical combustion chamber V8 engine has been a refreshing demonstration of the appeal of elegant, thoughtful engineering.
In the late 60’s and early 70’s it also acquired a bad boy image of politically incorrect power and performance, establishing a mythical presence that has made the Hemi a legend.
Hemi History
During development work on World War II aircraft engines, Chrysler’s engineers had seen firsthand the potential for hemispherical combustion chamber engines. In addition to the thermal efficiency of the hemi chamber’s low surface area and its low-restriction cross-flow porting, the angle between the valves ideally disposed the ports for efficient breathing in a
vee-layout engine.
Chrysler was the ideal company to pursue the hemispherical combustion chamber V8. It had a longstanding tradition of investigating, developing and perfecting advanced engineering ideas. Unlike its major competitors, Chrysler had neither overhead valve nor vee-configuration engine history, and thus no preconceived notions of how it should be done. Its engine designers could – and did – explore every conceivable engine idea. Their research showed that the hemispherical combustion chamber not only gave better performance than a comparable wedge-chamber head but also tolerated appreciably higher compression ratios.
The hemispherical head V8 was introduced in the Chrysler line in 1951. With 331 cubic inches displacement in a short stroke oversquare design, Chrysler’s FirePower V8 delivered 180 horsepower at 4,000 rpm and 312 lb-ft torque at 2,000 rpm. The performance potential of the Hemi was quickly recognized, most famously with the Chrysler C300 and its successors, which set the pace both on the highway and on NASCAR’s speedways. By 1958, however, manufacturing economics swung the pendulum in favor of the wedge-chamber V8s. The Hemi was phased out in 1959 … but not for long.
In the early 60s the 413 and 426 Wedge engines were dominant in drag racing but lacked the continuous high rpm performance needed on NASCAR’s speedways. Dodge and Plymouth were being trounced, a situation that couldn’t be allowed to stand. Faced with a need to develop a high performance, free-breathing engine quickly, Chrysler’s engineers turned to the solution they already knew worked, the Hemi. They stuck with the overall dimensions of the Raised Block 426 Wedge so existing fixturing and machining setups could be employed and maintained the original Hemi’s dual rocker shafts and 58° valve included angle. To adapt the Hemi head to the Raised Block engine, the ingenious Chrysler engineers rotated the combustion chamber toward the engine’s centerline about 8 1/2°.
Completed and delivered to the track just days before the 1964 Daytona 500’s green flag, the 426 Hemis proved to be invincible, sweeping the top three places in NASCAR’s most important race.
Production of the second generation Hemi ended after the 1971 model year as emission restrictions and insurance surcharges gave horsepower, which had never been entirely socially acceptable, a distinctly antisocial taint. Chrysler would twice more resurrect the Hemi, however, first as a crate engine program for hot rodders and later as a third generation production engine that brought DaimlerChrysler back to the forefront of performance at the beginning of the 21st century. Like some other forms of antisocial behavior, horsepower has proven to be addictive.
The Hemi ‘Cuda
Of all the Street Hemis built, the most famous, attractive and desirable are the 1970-1971 E-body Plymouth ‘Cudas, combining the visceral delight of the Hemi’s power and torque with the ‘Cuda’s lightweight, streamlined and refined 2+2 platform.
The first Barracuda was introduced in 1964 and in the late 60’s Chrysler engineering and Hurst performance shoehorned Race Hemi engines into the Barracuda’s engine compartment for NHRA drag racing. Seventy-five were built, sold and successfully campaigned around the country. When the Barracuda was redesigned for the 1970 model year the engine compartment was made large enough for the legendary 425 horsepower 426 cubic inch Street Hemi.
The Plymouth Barracuda was the cleanest, most refined and elegant of all the pony car designs. Distinguished by its wide grille, long, flat hood, short rear deck and ominously raised rear fenders – deliberately shaped like the haunches of an animal crouching before a leap – the appearance of the ‘Cuda left no doubt that this was a serious performance car.
Hemi-powered ‘Cudas are surpassingly rare. Built for only two years, 1970 and 1971, their low production numbers reflect the undeniable fact that the combination of the ‘Cuda platform and the Street Hemi engine was irrationally fast. It also was expensive: $871.45 in 1970 and $883.90 in 1971, a prohibitive 70% more than the 390 horsepower 440 Six Barrel.
A Hemi ‘Cuda was not for the faint of heart nor for the cautious of pocketbook. Buying one took serious commitment, backed up by an ample budget. In 1971 there were only 119 souls brave and prosperous enough to make the commitment to check off E74, the Street Hemi’s order code, on the ‘Cuda order form.
• 108 of them ordered hardtops
• Only eleven stepped up for the top-of-the-line ‘Cuda convertible powered by the 426 cubic inch, 425 horsepower dual quad Street Hemi.
• Only three of those were confident enough of their driving skills to opt for the Hurst pistol grip shifted four-speed manual transmission.
• Only two of those were delivered in the U.S.
• Both U.S.-delivered ’71 Hemi ‘Cuda convertibles were B5 Blue with
matching interiors.
That’s only three, in all the world, that combined the Street Hemi engine with the ‘Cuda convertible body and 4-speed transmission in 1971. One of them is the car offered here, BS27R1B269588, the only one with white soft top and elastomeric front bumper cover.
The “Mountain Mopar” Hemi ‘Cuda Convertible
Built in February of 1971, this Plymouth Hemi ‘Cuda convertible’s first owner, Ronald Ambach, lived in St. Louis, Missouri. He owned it only until the fall, accumulating the car’s only street miles, before selling it to its next owner, Nick Masciarelli, in Ohio. He decided to take the Hemi ‘Cuda Stock Eliminator drag racing and turned to renowned Detroit-area engine builder Tom Tignanelli for a hot Hemi V8. The new owner was in a hurry, and the quickest way to meet his request was to swap the original engine for a fresh race-prepared Tignanelli Hemi.
In May of 1973, the Hemi ‘Cuda convertible was sold to John Book and partner John Oliverio in West Virginia who raced it in East Coast and Mid-Atlantic events during 1973 and 1974. Its dramatic appearance, complete with gold-leaf “Mountain Mopar” identification, is documented in several period photos in the car’s documentation file.
Fortunately for today’s collectors, the “Mountain Mopar” Hemi ‘Cuda convertible was retired after 1974 and stored in a climate-controlled building in West Virginia. In 1989 it was sold to the Painter brothers. Two years later it was acquired by Milt Robson in Atlanta, Georgia, still in its as-raced condition. Robson commenced a comprehensive restoration using original or new-old-stock parts to its original, as-delivered condition in his shops, which was completed in the early 90’s. Stored inside for virtually its entire life, 269588 was never subjected to the vicissitudes of the elements which afflicted most of its siblings; its original sheet metal and interior are carefully restored and retained. The engine was rebuilt around a correct 1/19/1970 date-coded Chrysler NOS block.
In addition to the 426/425 horsepower dual quad Street Hemi and pistol grip Hurst shifted four-speed manual transmission, this unique 1971 Hemi ‘Cuda convertible is equipped with power steering, power brakes, Dana Super Track Pack and AM-FM radio. Importantly, it is the only ’71 Hemi ‘Cuda convertible known to have been delivered with the body-colored Elastomeric front bumper cover. Its original configuration is verified by two separate original build sheets; the ownership history is documented with a continuous sequence of titles. It has been personally viewed by Galen Govier and authenticated by him as one of the seven US-delivered ’71 Hemi ‘Cuda convertibles which have been included in the Chrysler Registry.
Finished in B5 Blue inside and out with a white vinyl top, it has been restored to better than showroom condition. Particular attention has been paid to the accuracy of its components and finishes and to the preservation of as much as possible of its almost unbelievable originality, including the carefully preserved original interior.
It has been shown only in local shows around Atlanta in the mid 90s, was featured a decade ago in a May 1995 Car Collector magazine article by Dennis Adler and has appeared in several books, copies of which come with the car.
Putting a free-breathing, high-rpm engine like the 426 Hemi in a lithe, frisky chassis like the ‘Cuda was exactly what the forces of political correctness inveighed against in the early 70s. In 1972 the Hemi was gone for the second time, its visceral appeal buried in a cascade of social responsibility, “net” horsepower and Highway Fuel Economy ratings. There is nothing politically correct, nothing socially responsible about a Hemi ‘Cuda. The 1971 Plymouth Hemi ‘Cuda convertible is wretched excess in a nearly unimaginably limited production package.
This is absolutely the most desirable, rare and handsome of all the American Muscle and Pony Cars. Combining the brute power and torque of the legendary dual quad Street Hemi engine with the sleek, aggressive lines of the ‘Cuda convertible, it is the ultimate combination of personal car style and Muscle Car performance, a singular example and the quintessential muscle car of all time.
[Text from RM Auctions]
www.rmauctions.com/lots/lot.cfm?lot_id=132126
This Lego miniland-scale Plymouth HEMI ' Cuda Convertible (1971), has been created for Flickr LUGNuts' 89th Build Challenge, - "Over a Million, Under a Thousand", - a challenge to build vehicles valued over one million (US) dollars, or under one thousand (US) dollars.
This particular vehicle was auctioned by the RM Auction house for US$2,420,000)
I revisited Dunnottar Castle today Wednesday 24th April 2019, unfortunately a sea harr cloacked Stonehaven, blurring the view of the castle from the cliff top that leads down to the stairs accessing the castle, undeterred I decided enter the castle grounds, it was a good decision, posting a few of my shots from todays visit to this fine castle ruin.
Dunnottar Castle.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
I revisited Dunnottar Castle today Wednesday 24th April 2019, unfortunately a sea harr cloacked Stonehaven, blurring the view of the castle from the cliff top that leads down to the stairs accessing the castle, undeterred I decided enter the castle grounds, it was a good decision, posting a few of my shots from todays visit to this fine castle ruin.
Dunnottar Castle.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
I revisited Dunnottar Castle today Wednesday 24th April 2019, unfortunately a sea harr cloacked Stonehaven, blurring the view of the castle from the cliff top that leads down to the stairs accessing the castle, undeterred I decided enter the castle grounds, it was a good decision, posting a few of my shots from todays visit to this fine castle ruin.
Dunnottar Castle.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
I revisited Dunnottar Castle today Wednesday 24th April 2019, unfortunately a sea harr cloacked Stonehaven, blurring the view of the castle from the cliff top that leads down to the stairs accessing the castle, undeterred I decided enter the castle grounds, it was a good decision, posting a few of my shots from todays visit to this fine castle ruin.
Dunnottar Castle.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.
I revisited Dunnottar Castle today Wednesday 24th April 2019, unfortunately a sea harr cloacked Stonehaven, blurring the view of the castle from the cliff top that leads down to the stairs accessing the castle, undeterred I decided enter the castle grounds, it was a good decision, posting a few of my shots from todays visit to this fine castle ruin.
Dunnottar Castle.
The rock the Castle sits upon was forced to the surface 440 million years ago during the Silurian period. A red rock conglomerate with boulders up to 1m across known as Pudding Stone is incredibly durable.
The ancient Highland rock pebbles and cementing matter is so tough that faults or cracks pass through the pebbles themselves.
I first visited Dunnottar Castle summer 2017, this magnificent castle sits high on a hill, last time I visited I captured my shots from the cliffs overlooking the site, though today I made the journey up the hill and entered the castle walls , wow what a magnificent experience, just perfect with loads of great photo opportunities to capture real Scottish history,after two hours wandering around and capturing as many shots that caught my eye , I made my way home, a magnificent experience indeed.
Dunnottar Castle (Scottish Gaelic: Dùn Fhoithear, "fort on the shelving slope" is a ruined medieval fortress located upon a rocky headland on the north-east coast of Scotland, about 3 kilometres (1.9 mi) south of Stonehaven.
The surviving buildings are largely of the 15th and 16th centuries, but the site is believed to have been fortified in the Early Middle Ages. Dunnottar has played a prominent role in the history of Scotland through to the 18th-century Jacobite risings because of its strategic location and defensive strength. Dunnottar is best known as the place where the Honours of Scotland, the Scottish crown jewels, were hidden from Oliver Cromwell's invading army in the 17th century. The property of the Keiths from the 14th century, and the seat of the Earl Marischal, Dunnottar declined after the last Earl forfeited his titles by taking part in the Jacobite rebellion of 1715.
The castle was restored in the 20th century and is now open to the public.
The ruins of the castle are spread over 1.4 hectares (3.5 acres), surrounded by steep cliffs that drop to the North Sea, 50 metres (160 ft) below. A narrow strip of land joins the headland to the mainland, along which a steep path leads up to the gatehouse.
The various buildings within the castle include the 14th-century tower house as well as the 16th-century palace. Dunnottar Castle is a scheduled monument, and twelve structures on the site are listed buildings.
History
Early Middle Ages
A chapel at Dunnottar is said to have been founded by St Ninian in the 5th century, although it is not clear when the site was first fortified, but in any case the legend is late and highly implausible. Possibly the earliest written reference to the site is found in the Annals of Ulster which record two sieges of "Dún Foither" in 681 and 694.
The earlier event has been interpreted as an attack by Brude, the Pictish king of Fortriu, to extend his power over the north-east coast of Scotland. The Scottish Chronicle records that King Domnall II, the first ruler to be called rí Alban (King of Alba), was killed at Dunnottar during an attack by Vikings in 900. King Aethelstan of Wessex led a force into Scotland in 934, and raided as far north as Dunnottar according to the account of Symeon of Durham. W. D. Simpson speculated that a motte might lie under the present caste, but excavations in the 1980s failed to uncover substantive evidence of early medieval fortification.
The discovery of a group of Pictish stones at Dunnicaer, a nearby sea stack, has prompted speculation that "Dún Foither" was actually located on the adjacent headland of Bowduns, 0.5 kilometres (0.31 mi) to the north.
Later Middle Ages
During the reign of King William the Lion (ruled 1165–1214) Dunnottar was a center of local administration for The Mearns. The castle is named in the Roman de Fergus, an early 13th-century Arthurian romance, in which the hero Fergus must travel to Dunnottar to retrieve a magic shield.
In May 1276 a church on the site was consecrated by William Wishart, Bishop of St Andrews. The poet Blind Harry relates that William Wallace captured Dunnottar from the English in 1297, during the Wars of Scottish Independence. He is said to have imprisoned 4,000 defeated English soldiers in the church and burned them alive.
In 1336 Edward III of England ordered William Sinclair, 8th Baron of Roslin, to sail eight ships to the partially ruined Dunnottar for the purpose of rebuilding and fortifying the site as a forward resupply base for his northern campaign. Sinclair took with him 160 soldiers, horses, and a corps of masons and carpenters.
Edward himself visited in July, but the English efforts were undone before the end of the year when the Scottish Regent Sir Andrew Murray led a force that captured and again destroyed the defences of Dunnottar.
In the 14th century Dunnottar was granted to William de Moravia, 5th Earl of Sutherland (d.1370), and in 1346 a licence to crenellate was issued by David II. Around 1359 William Keith, Marischal of Scotland, married Margaret Fraser, niece of Robert the Bruce, and was granted the barony of Dunnottar at this time. Keith then gave the lands of Dunnottar to his daughter Christian and son-in-law William Lindsay of Byres, but in 1392 an excambion (exchange) was agreed whereby Keith regained Dunnottar and Lindsay took lands in Fife.
William Keith completed construction of the tower house at Dunnottar, but was excommunicated for building on the consecrated ground associated with the parish church. Keith had provided a new parish church closer to Stonehaven, but was forced to write to the Pope, Benedict XIII, who issued a bull in 1395 lifting the excommunication.William Keith's descendents were created Earls Marischal in the mid 15th century, and they held Dunottar until the 18th century.
16th century rebuilding
Through the 16th century the Keiths improved and expanded their principal seats: at Dunnottar and also at Keith Marischal in East Lothian. James IV visited Dunnottar in 1504, and in 1531 James V exempted the Earl's men from military service on the grounds that Dunnottar was one of the "principall strenthis of our realme".
Mary, Queen of Scots, visited in 1562 after the Battle of Corrichie, and returned in 1564.
James VI stayed for 10 days in 1580, as part of a progress through Fife and Angus, during which a meeting of the Privy Council was convened at Dunnottar.
During a rebellion of Catholic nobles in 1592, Dunnottar was captured by a Captain Carr on behalf of the Earl of Huntly, but was restored to Lord Marischal just a few weeks later.
In 1581 George Keith succeeded as 5th Earl Marischal, and began a large scale reconstruction that saw the medieval fortress converted into a more comfortable home. The founder of Marischal College in Aberdeen, the 5th Earl valued Dunnottar as much for its dramatic situation as for its security.
A "palace" comprising a series of ranges around a quadrangle was built on the north-eastern cliffs, creating luxurious living quarters with sea views. The 13th-century chapel was restored and incorporated into the quadrangle.
An impressive stone gatehouse was constructed, now known as Benholm's Lodging, featuring numerous gun ports facing the approach. Although impressive, these are likely to have been fashionable embellishments rather than genuine defensive features.
Civil wars
Further information: Scotland in the Wars of the Three Kingdoms
In 1639 William Keith, 7th Earl Marischal, came out in support of the Covenanters, a Presbyterian movement who opposed the established Episcopal Church and the changes which Charles I was attempting to impose. With James Graham, 1st Marquess of Montrose, he marched against the Catholic James Gordon, 2nd Viscount Aboyne, Earl of Huntly, and defeated an attempt by the Royalists to seize Stonehaven. However, when Montrose changed sides to the Royalists and marched north, Marischal remained in Dunnottar, even when given command of the area by Parliament, and even when Montrose burned Stonehaven.
Marischal then joined with the Engager faction, who had made a deal with the king, and led a troop of horse to the Battle of Preston (1648) in support of the royalists.
Following the execution of Charles I in 1649, the Engagers gave their allegiance to his son and heir: Charles II was proclaimed king, arriving in Scotland in June 1650. He visited Dunnottar in July 1650, but his presence in Scotland prompted Oliver Cromwell to lead a force into Scotland, defeating the Scots at Dunbar in September 1650.
The Honours of Scotland
Charles II was crowned at Scone Palace on 1 January 1651, at which the Honours of Scotland (the regalia of crown, sword and sceptre) were used. However, with Cromwell's troops in Lothian, the honours could not be returned to Edinburgh. The Earl Marischal, as Marischal of Scotland, had formal responsibility for the honours, and in June the Privy Council duly decided to place them at Dunnottar.
They were brought to the castle by Katherine Drummond, hidden in sacks of wool. Sir George Ogilvie (or Ogilvy) of Barras was appointed lieutenant-governor of the castle, and given responsibility for its defence.
In November 1651 Cromwell's troops called on Ogilvie to surrender, but he refused. During the subsequent blockade of the castle, the removal of the Honours of Scotland was planned by Elizabeth Douglas, wife of Sir George Ogilvie, and Christian Fletcher, wife of James Granger, minister of Kinneff Parish Church. The king's papers were first removed from the castle by Anne Lindsay, a kinswoman of Elizabeth Douglas, who walked through the besieging force with the papers sewn into her clothes.
Two stories exist regarding the removal of the honours themselves. Fletcher stated in 1664 that over the course of three visits to the castle in February and March 1652, she carried away the crown, sceptre, sword and sword-case hidden amongst sacks of goods. Another account, given in the 18th century by a tutor to the Earl Marischal, records that the honours were lowered from the castle onto the beach, where they were collected by Fletcher's servant and carried off in a creel (basket) of seaweed. Having smuggled the honours from the castle, Fletcher and her husband buried them under the floor of the Old Kirk at Kinneff.
Meanwhile, by May 1652 the commander of the blockade, Colonel Thomas Morgan, had taken delivery of the artillery necessary for the reduction of Dunnottar. Ogilvie surrendered on 24 May, on condition that the garrison could go free. Finding the honours gone, the Cromwellians imprisoned Ogilvie and his wife in the castle until the following year, when a false story was put about suggesting that the honours had been taken overseas.
Much of the castle property was removed, including twenty-one brass cannons,[28] and Marischal was required to sell further lands and possessions to pay fines imposed by Cromwell's government.
At the Restoration of Charles II in 1660, the honours were removed from Kinneff Church and returned to the king. Ogilvie quarrelled with Marischal's mother over who would take credit for saving the honours, though he was eventually rewarded with a baronetcy. Fletcher was awarded 2,000 merks by Parliament but the sum was never paid.
Whigs and Jacobites
Religious and political conflicts continued to be played out at Dunnottar through the 17th and early 18th centuries. In 1685, during the rebellion of the Earl of Argyll against the new king James VII, 167 Covenanters were seized and held in a cellar at Dunnottar. The prisoners included 122 men and 45 women associated with the Whigs, an anti-Royalist group within the Covenanter movement, and had refused to take an oath of allegiance to the new king.
The Whigs were imprisoned from 24 May until late July. A group of 25 escaped, although two of these were killed in a fall from the cliffs, and another 15 were recaptured. Five prisoners died in the vault, and 37 of the Whigs were released after taking the oath of allegiance.
The remaining prisoners were transported to Perth Amboy, New Jersey, as part of a colonisation scheme devised by George Scot of Pitlochie. Many, like Scot himself, died on the voyage.
The cellar, located beneath the "King's Bedroom" in the 16th-century castle buildings, has since become known as the "Whigs' Vault".
Both the Jacobites (supporters of the exiled Stuarts) and the Hanoverians (supporters of George I and his descendents) used Dunnottar Castle. In 1689 during Viscount Dundee's campaign in support of the deposed James VII, the castle was garrisoned for William and Mary with Lord Marischal appointed captain.
Seventeen suspected Jacobites from Aberdeen were seized and held in the fortress for around three weeks, including George Liddell, professor of mathematics at Marischal College.
In the Jacobite Rising of 1715 George Keith, 10th Earl Marischal, took an active role with the rebels, leading cavalry at the Battle of Sheriffmuir. After the subsequent abandonment of the rising Lord Marischal fled to the Continent, eventually becoming French ambassador for Frederick the Great of Prussia. Meanwhile, in 1716, his titles and estates including Dunnottar were declared forfeit to the crown.
Later history
The seized estates of the Earl Marischal were purchased in 1720 for £41,172, by the York Buildings Company who dismantled much of the castle.
In 1761 the Earl briefly returned to Scotland and bought back Dunnottar only to sell it five years later to Alexander Keith, an Edinburgh lawyer who served as Knight Marischal of Scotland.
Dunnottar was inherited in 1852 by Sir Patrick Keith-Murray of Ochtertyre, who in turn sold it in July 1873 to Major Alexander Innes of Cowie and Raemoir for about £80,000.
It was purchased by Weetman Pearson, 1st Viscount Cowdray, in 1925 after which his wife embarked on a programme of repairs.
Since that time the castle has remained in the family, and has been open to the public, attracting 52,500 visitors in 2009.
Dunnottar Castle, and the headland on which is stands, was designated as a scheduled monument in 1970.In 1972 twelve of the structures at Dunnottar were listed.
Three buildings are listed at category A as being of "national importance": the keep; the entrance gateway; and Benholm's Lodging.
The remaining listings are at category B as being of "regional importance".[39] The Hon. Charles Anthony Pearson, the younger son of the 3rd Viscount Cowdray, currently owns and runs Dunnottar Castle which is part of the 210-square-kilometre (52,000-acre) Dunecht Estates.
Portions of the 1990 film Hamlet, starring Mel Gibson and Glenn Close, were shot there.
Description
Dunnottar's strategic location allowed its owners to control the coastal terrace between the North Sea cliffs and the hills of the Mounth, 3.5 kilometres (2.2 mi) inland, which enabled access to and from the north-east of Scotland.
The site is accessed via a steep, 800-metre (2,600 ft) footpath (with modern staircases) from a car park on the coastal road, or via a 3-kilometre (1.9 mi) cliff-top path from Stonehaven. Dunnottar's several buildings, put up between the 13th and 17th centuries, are arranged across a headland covering around 1.4 hectares (3.5 acres).
The dominant building, viewed from the land approach, is the 14th-century keep or tower house. The other principal buildings are the gatehouse; the chapel; and the 16th-century "palace" which incorporates the "Whigs' Vault".
Defences
The approach to the castle is overlooked by outworks on the "Fiddle Head", a promontory on the western side of the headland. The entrance is through the well-defended main gate, set in a curtain wall which entirely blocks a cleft in the rocky cliffs.
The gate has a portcullis and has been partly blocked up. Alongside the main gate is the 16th-century Benholm's Lodging, a five-storey building cut into the rock, which incorporated a prison with apartments above.
Three tiers of gun ports face outwards from the lower floors of Benholm's Lodging, while inside the main gate, a group of four gun ports face the entrance. The entrance passage then turns sharply to the left, running underground through two tunnels to emerge near the tower house.
Simpson contends that these defences are "without exception the strongest in Scotland", although later writers have doubted the effectiveness of the gun ports. Cruden notes that the alignment of the gun ports in Benholm's Lodging, facing across the approach rather than along, means that they are of limited efficiency.
The practicality of the gun ports facing the entrance has also been questioned, though an inventory of 1612 records that four brass cannons were placed here.
A second access to the castle leads up from a rocky cove, the aperture to a marine cave on the northern side of the Dunnottar cliffs into which a small boat could be brought. From here a steep path leads to the well-fortified postern gate on the cliff top, which in turn offers access to the castle via the Water Gate in the palace.
Artillery defences, taking the form of earthworks, surround the north-west corner of the castle, facing inland, and the south-east, facing seaward. A small sentry box or guard house stands by the eastern battery, overlooking the coast.
Tower house and surrounding buildings
The tower house of Dunnottar, viewed from the west
The late 14th-century tower house has a stone-vaulted basement, and originally had three further storeys and a garret above.
Measuring 12 by 11 metres (39 by 36 ft), the tower house stood 15 metres (49 ft) high to its gable. The principal rooms included a great hall and a private chamber for the lord, with bedrooms upstairs.
Beside the tower house is a storehouse, and a blacksmith's forge with a large chimney. A stable block is ranged along the southern edge of the headland. Nearby is Waterton's Lodging, also known as the Priest's House, built around 1574, possibly for the use of William Keith (died 1580), son of the 4th Earl Marischal.
This small self-contained house includes a hall and kitchen at ground level, with private chambers above, and has a projecting spiral stair on the north side. It is named for Thomas Forbes of Waterton, an attendant of the 7th Earl.
The palace
The palace, to the north-east of the headland, was built in the late 16th century and early to mid-17th century. It comprises three main wings set out around a quadrangle, and for the most part is probably the work of the 5th Earl Marischal who succeeded in 1581.
It provided extensive and comfortable accommodation to replace the rooms in the tower house. In its long, low design it has been compared to contemporary English buildings, in contrast to the Scottish tradition of taller towers still prevalent in the 16th century.
Seven identical lodgings are arranged along the west range, each opening onto the quadrangle and including windows and fireplace. Above the lodgings the west range comprised a 35-metre (115 ft) gallery. Now roofless, the gallery originally had an elaborate oak ceiling, and on display was a Roman tablet taken from the Antonine Wall.
At the north end of the gallery was a drawing room linked to the north range. The gallery could also be accessed from the Silver House to the south, which incorporated a broad stairway with a treasury above.
The basement of the north range incorporates kitchens and stores, with a dining room and great chamber above. At ground floor level is the Water Gate, between the north and west ranges, which gives access to the postern on the northern cliffs.
The east and north ranges are linked via a rectangular stair. The east range has a larder, brewhouse and bakery at ground level, with a suite of apartments for the Countess above. A north-east wing contains the Earl's apartments, and includes the "King's Bedroom" in which Charles II stayed. In this room is a carved stone inscribed with the arms of the 7th Earl and his wife, and the date 1654. Below these rooms is the Whigs' Vault, a cellar measuring 16 by 4.5 metres (52 by 15 ft). This cellar, in which the Covenanters were held in 1685, has a large eastern window, as well as a lower vault accessed via a trap-door in the floor.
Of the chambers in the palace, only the dining room and the Silver House remain roofed, having been restored in the 1920s. The central area contains a circular cistern or fish pond, 16 metres (52 ft) across and 7.6 metres (25 ft) deep, and a bowling green is located to the west.
At the south-east corner of the quadrangle is the chapel, consecrated in 1276 and largely rebuilt in the 16th century. Medieval walling and two 13th-century windows remain, and there is a graveyard to the south.