Scotland S Lost Gardens

Gardens are one of the most important elements in the cultural history of Scotland. Like any art form, they provide an insight into social, political and economic fashions, they intimately reflect the personalities and ideals of the individuals who created them, and they capture the changing fortunes of successive generations of monarchs and noblemen. Yet they remain fragile features of the landscape, easily changed, abandoned or destroyed, leaving little or no trace.In Scotland's Lost Gardens, author Marilyn Brown rediscovers the fascinating stories of the nation's vanished historic gardens. Drawing on varied, rare and newly available archive material, including the cartography of Timothy Pont, a spy map of Holyrood drawn for Henry VIII during the 'Rough Wooing', medieval charters, renaissance poetry, the Accounts of the Lord High Treasurer, and modern aerial photography, a remarkable picture emerges of centuries of lost landscapes.Starting with the monastic gardens of St Columba on the Isle of Iona in the sixth century, and encompassing the pleasure parks of James IV and James V, the royal and noble refuges of Mary Queen of Scots, and the 'King's Knot', the garden masterpiece which lies below Stirling Castle, the history of lost gardens is inextricably linked to the wider history of the nation, from the spread of Christianity to the Reformation and the Union of the Crowns.The product of over 30 years of research, Scotland's Lost Gardens demonstrates how our cultural heritage sits within a wider European movement of shared artistic values and literary influences. Providing a unique perspective on this common past, it is also a fascinating guide to Scotland's disappeared landscapes and sanctuaries - lost gardens laid out many hundreds of years ago 'for the honourable delight of body and soul'.

A directory of Scotland's finest gardens opening for charity for Scotland's Gardens Scheme

This pioneering study tells the story of the emergence of rural workers' gardens during a period of unprecedented economic and social change in the most dynamic and prosperous region of Scotland. Much criticised as weed-infested, badly cultivated and disfigured by the dung heap before the cottage door, eighteenth-century cottage gardens produced only the most basic food crops. But the paradox is that Scottish professional gardeners at this time were highly prized and sought after all over the world. And by the eve of the First World War Scottish cottage gardeners were raising flowers, fruit and a wide range of vegetables, and celebrating their successes at innumerable flower shows. This book delves into the lives of farm servants, labourers, weavers, miners and other workers living in the countryside, to discover not only what vegetables, fruit and flowers they grew, and how they did it, but also how poverty, insecurity and long and arduous working days shaped their gardens. Workers' cottage gardens were also expected to comply with the needs of landowners, farmers and employers and with their expectations of the industrious cottager. But not all the gardens were muddy cabbage and potato patches and not all the gardeners were ignorant or unenthusiastic. The book also tells the stories of the keen gardeners who revelled in their pretty plots, raised prize exhibits for village shows and, in a few cases, found gardening to be a stepping-stone to scientific exploration.

What did early Scottish gardens look like? How did these gardens relate to the house and how did passing time affect their development? Where did the plant stock come from: herbs, shrubs, annuals and perennials, from the thistle to the rose? Did the gardens match the richly embellished interiors of Scots aristocrats and merchants, particularly after the Reformation? Evocative and tantalising remains of 'missing gardens' such as earthworks, stone walls, doocots, date stones, terracing, traceries of paths, sundials, a few ancient yews, and gardens themselves - Culross, Edzell, Pitmedden, Kinross -fire the imagination as Sheila Mackay guides the reader on a personal tour of the 16th, 17th and 18th-century gardens of Scotland.Contrary to popular belief within British garden history, designed landscapes have played a vital role in the lives of aspiring Scots from the 16th century, with paintings from the time depicting elaborate gardens to match houses and interiors that reflected status, wealth and a sense of self-esteem. In her exploration of these gardens - from Arthur's Seat in 1500 to The Hermitage in 1750 - Sheila Mackay reveals the dramatic developments that occurred during this period.This is a history peopled with the characters of the time, and includes extracts from songs, poems, and paintings of gardens throughout the period. Imaginative reconstructions of gardens for the people of the time - a 16th-century garden for the calligrapher Esther Inglis and a 17th-century landscape for the portrait painter George Jamesone - and the creative re-design of the ground of the Pleasaunce at Edzell Castle in light of contemporary European developments enhance the sense of the inspired designs of the time.An evocative picture is painted of these gardens and it is hoped that this will inspire the reader to make their own distinctive maps and undertake their own explorations of the gardens of Scotland.Key Features:*Illustrated with over 90 photograph

The Scottish People, 1490-1625 is one of the most comprehensive texts ever written on Scottish History. All geographical areas of Scotland are covered from the Borders, through the Lowlands to the Gàidhealtachd and the Northern Isles. The chapters look at society and the economy, Women and the family, International relations: war, peace and diplomacy, Law and order: the local administration of justice in the localities, Court and country: the politics of government, The Reformation: preludes, persistence and impact, Culture in Renaissance Scotland: education, entertainment, the arts and sciences, and Renaissance architecture: the rebuilding of Scotland. In many past general histories there was a relentless focus upon the elite, religion and politics. These are key features of any medieval and early modern history books, but The Scottish People looks at less explored areas of early-modern Scottish History such as women, how the law operated, the lives of everyday folk, architecture, popular belief and culture.

This architectural survey covers one of Scotland's most important periods of political and architectural change when mainstream European classicism became embedded as the cultural norm. Interposed between the decline of 'the Scottish castle' and its revival as Scotch Baronial architecture, the contributors consider both private and public/civic architecture. They showcase the architectural reflections of a Scotland finding its new elites by providing new research, analysing paradigms such as Holyrood and Hamilton Palace, as well as external reference points such as Paris tenements, Roman precedents and English parallels. Typologically, the book is broad in scope, covering the architecture and design of country estate and also the urban scene in the era before Edinburgh New Town. Steps decisively away from the 'Scottish castle' genre of architectureContextualises the work of Scotland's first well-documented grouping of major architects - including Sir William Bruce, Mr James Smith, James Gibbs and the Adam dynastyDocuments the architectural developments of a transformational period in Scottish history Beautifully illustrated throughout with 300 colour illustrations a

Since 1945 more than 200 of the most noted houses in Scotland have been lost, whether to fire, rot, or demolition. Fortunately, photographs were taken of many of these great structures both prior to and during their destruction. Collected here are images of 20 of the most important lost Scottish houses, among them Hamilton Palace, Rosneath, Balbardie, Amisfield, Gordon Castle, Guisachan, Dunglass, and Millearne. These images provide a fitting testimony to architectural masterpieces from a variety of eras and—in cases such as that or Murthly—offer a painstaking and heartbreaking record of their unfortunate demise.

Emblems in the visual arts use motifs which have meanings, and in this ground-breaking, richly illustrated book Michael Bath, leading authority on Renaissance emblem books, shows how such symbolic motifs in Scotland address major historical issues of Anglo-Scottish relations.