Columba or Colmcille was an Irish abbot and missionary evangelist credited with spreading Christianity in what is today Scotland at the start of the Hiberno-Scottish mission. He founded the important abbey on Iona, which became a dominant religious and political institution in the region for centuries. He is the patron saint of Derry. He was highly regarded by both the Gaels of Dál Riata and the Picts, and is remembered today as a Catholic saint and one of the Twelve Apostles of Ireland.
The Picts were a group of peoples in what is now Scotland north of the Firth of Forth, in the Early Middle Ages. Where they lived and details of their culture can be gleaned from early medieval texts and Pictish stones. The name Picti appears in written records as an exonym from the late third century AD. They are assumed to have been descendants of the Caledonii and other northern Iron Age tribes. Their territory is referred to as "Pictland" by modern historians. Initially made up of several chiefdoms, it came to be dominated by the Pictish kingdom of Fortriu from the seventh century. During this Verturian hegemony, Picti was adopted as an endonym. This lasted around 160 years until the Pictish kingdom merged with that of Dál Riata to form the Kingdom of Alba, ruled by the House of Alpin. The concept of "Pictish kingship" continued for a few decades until it was abandoned during the reign of Caustantín mac Áeda.
The Book of Durrow is an illuminated manuscript gospel book dated to c. 700 that contains the Vulgate Latin text of the four Gospels, with some Irish variations, and other matter, written in Insular script, and richly illustrated in the style of Insular art with four full-page Evangelist symbols, six carpet pages, and many decorated initials.
A Pictish stone is a type of monumental stele, generally carved or incised with symbols or designs. A few have ogham inscriptions. Located in Scotland, mostly north of the Clyde-Forth line and on the Eastern side of the country, these stones are the most visible remaining evidence of the Picts and are thought to date from the 6th to 9th century, a period during which the Picts became Christianized. The earlier stones have no parallels from the rest of the British Isles, but the later forms are variations within a wider Insular tradition of monumental stones such as high crosses. About 350 objects classified as Pictish stones have survived, the earlier examples of which holding by far the greatest number of surviving examples of the mysterious symbols, which have long intrigued scholars.
A cumdach or book shrine is an elaborate ornamented metal reliquary box or case used to hold Early Medieval Irish manuscripts or relics. They are typically later than the book they contain, often by several centuries. In most surviving examples, the book comes from the peak age of Irish monasticism before 800, and the extant cumdachs date from after 1000, although it is clear the form dates from considerably earlier. The majority are of Irish origin, with most surviving examples held by the National Museum of Ireland (NMI).
A miniature shrine, also referred to in literature as a portable shrine,pocket shrine, or a travel altar, is a small, generally moveable shrine or altar. They vary greatly in size and architectural style, and by which region or culture produced them.
Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages.
Migration Period art denotes the artwork of the Germanic peoples during the Migration period. It includes the Migration art of the Germanic tribes on the continent, as well the start of the Insular art or Hiberno-Saxon art of the Anglo-Saxon and Celtic fusion in Britain and Ireland. It covers many different styles of art including the polychrome style and the animal style. After Christianization, Migration Period art developed into various schools of Early Medieval art in Western Europe which are normally classified by region, such as Anglo-Saxon art and Carolingian art, before the continent-wide styles of Romanesque art and finally Gothic art developed.
Christianity in medieval Scotland includes all aspects of Christianity in the modern borders of Scotland in the Middle Ages. Christianity was probably introduced to what is now Lowland Scotland by Roman soldiers stationed in the north of the province of Britannia. After the collapse of Roman authority in the fifth century, Christianity is presumed to have survived among the British enclaves in the south of what is now Scotland, but retreated as the pagan Anglo-Saxons advanced. Scotland was largely converted by Irish missions associated with figures such as St Columba, from the fifth to the seventh centuries. These missions founded monastic institutions and collegiate churches that served large areas. Scholars have identified a distinctive form of Celtic Christianity, in which abbots were more significant than bishops, attitudes to clerical celibacy were more relaxed and there were significant differences in practice with Roman Christianity, particularly the form of tonsure and the method of calculating Easter, although most of these issues had been resolved by the mid-seventh century. After the reconversion of Scandinavian Scotland in the tenth century, Christianity under papal authority was the dominant religion of the kingdom.
St Vigeans is a small village and parish in Angus, Scotland, immediately to the north of Arbroath. Originally rural, it is now more or less a suburb of the town of Arbroath.
Insular art, also known as Hiberno-Saxon art, was produced in the post-Roman era of Great Britain and Ireland. The term derives from insula, the Latin term for "island"; in this period Britain and Ireland shared a largely common style different from that of the rest of Europe. Art historians usually group Insular art as part of the Migration Period art movement as well as Early Medieval Western art, and it is the combination of these two traditions that gives the style its special character.
Scotland was divided into a series of kingdoms in the Early Middle Ages, i.e. between the end of Roman authority in southern and central Britain from around 400 AD and the rise of the kingdom of Alba in 900 AD. Of these, the four most important to emerge were the Picts, the Gaels of Dál Riata, the Britons of Alt Clut, and the Anglian kingdom of Bernicia. After the arrival of the Vikings in the late 8th century, Scandinavian rulers and colonies were established on the islands and along parts of the coasts. In the 9th century, the House of Alpin combined the lands of the Scots and Picts to form a single kingdom which constituted the basis of the Kingdom of Scotland.
The Celtic brooch, more properly called the penannular brooch, and its closely related type, the pseudo-penannular brooch, are types of brooch clothes fasteners, often rather large; penannular means formed as an incomplete ring. They are especially associated with the beginning of the Early Medieval period in Ireland and Britain, although they are found in other times and places—for example, forming part of traditional female dress in areas in modern North Africa.
In the early Middle Ages, there were distinct material cultures evident in the different federations and kingdoms within what is now Scotland. Pictish art was the only uniquely Scottish medieval style; it can be seen in the extensive survival of carved stones, particularly in the north and east of the country, which hold a variety of recurring images and patterns. It can also be seen in elaborate metal work that largely survives in buried hoards. Irish-Scots art from the kingdom of Dál Riata suggests that it was one of the places, as a crossroads between cultures, where the Insular style developed.
The Christianisation of Scotland was the process by which Christianity spread in what is now Scotland, which took place principally between the fifth and tenth centuries.
Forglen House is a mansion house that forms the centrepiece of the Forglen estate in the parish of Forglen, north-west of Turriff, Aberdeenshire, in the north-east of Scotland. The lands were given to the abbots of the Abbey of Arbroath by King William the Lion before 1211 and the Monymusk Reliquary was held there. The original castle, built around 1346, was replaced by a vernacular harled house that was later extended. Significant development of the estate began when it was acquired by the family of Lord Banff and they started the work of landscaping and planting trees. It became their main family seat during the 18th century. After the death of William Ogilvy, the eighth and final Lord Banff, the estate passed by marriage to the Abercromby baronets who continued to enhance the property and maintained it as their main residence. Sir Robert Abercromby, 5th Baronet commissioned the Aberdeen City Architect, John Smith to design the present house in 1839.
House-shaped shrine are early medieval portable metal reliquary formed in the shape of the roof of a rectangular building. They originate from both Ireland and Scotland and mostly date from the 8th or 9th centuries. Typical example consist of a wooden core covered with silver and copper alloy plates, and were built to hold relics of saints or martyrs from the early Church era; a number held corporeal remains when found in the modern period, presumably they were parts of the saint's body. Others, including the Breac Maodhóg, held manuscripts associated with the commemorated saint. Like many Insular shrines, they were heavily reworked and embellished in the centuries following their initial construction, often with metal adornments or figures influenced by Romanesque sculpture.
The Traprain Law treasure is a hoard of late Roman hacksilver, found on the hillfort of Traprain Law during excavations in 1919. It is the largest hoard of Roman hacksilver currently known, weighing just over 23 kg. It consists mostly of Roman silver vessels, a few of which are complete but most of which had been cut into fragments or crushed. There are a few items of personal equipment and coins. The hoard was probably buried in the early fifth century AD. Early interpretations saw it as loot; more recent views prefer to see it as diplomatic gifts or payment for military service. It is currently on display in the National Museum of Scotland in Edinburgh.
An Insular crozier is a type of processional bishop's staff (crozier) produced in Ireland and Scotland between 800 and 1200. Such items can be distinguished from mainland European types by their curved and open crooks, and drop. By the end of the 12th century, production of Irish croziers had largely ended, but examples continued to be reworked and added to throughout the Romanesque and Gothic periods. Although many of the croziers are associated with 5th- and 6th-century saints, the objects were not made until long after the saints had died. A majority originate from around the 9th century, with a number further embellished between the 11th and 13th centuries.
The Lismore Crozier is an Irish Insular-type crozier dated to between 1100 and 1113 AD. It consists of a wooden tubular staff lined with copper-alloy plates; embellished with silver, gold, niello and glass; and capped by a crook with a decorative openwork crest. The inscriptions on the upper knope record that it was built by "Nechtain the craftsman" and commissioned by Niall mac Meic Aeducain, bishop of Lismore. This makes it the only extant insular crozier to be inscribed, and the only one whose date of origin can be closely approximated. It was rediscovered in 1814, along with the 15th-century Book of Lismore, in a walled-up doorway in Lismore Castle, County Waterford, where it was probably hidden in the late Middle Ages during a period of either religious persecution or raids.
