Archive for the ‘Multimedia’ Category

Virtually palpate Neolithic Scottish balls

Monday, June 18th, 2018

About 525 intricately carved stone balls from the Late Stone Age have been found in northern Europe, 430 of them in Scotland, the rest in England, the Orkney Islands, Ireland and Norway. These balls have stymied antiquarians and archaeologists since they were first discovered two centuries ago. They come in a variety of designs, some with abstract carved reliefs, some carved into curious shapes, and their purpose or purposes have yet to be divined. Researchers have hypothesized that they could have been weapons like maceheads or sling projectiles, weights and measures, or symbols of power with religious significance as many of the carvings — circles, spirals, patterns of straight lines — have also been found carved on tombs.

Most of the Scottish balls were found in Aberdeenshire, including the most famous of them all, the Towie ball. It was discovered when a drain was dug near the village of Towie in or before 1860. Made of a hard black stone, the Towie ball has four discs, three of them carved with spirals and wedges, the last left blank. It is considered one of the finest examples of Neolithic art known.

Of the hundreds of Neolithic carved balls found in Scotland and the Orkneys, the National Museum of Scotland in Edinburgh has around 140 of them in its collection, the Towie ball among them. Very few of them are on display, however. The museum is making up for this by creating 3D models of 60 of its Neolithic balls and posting them online so that anybody with an Internet connection can see them in far greater detail than they ever could in person.

These models were made using photogrammetry, which uses around 150-200 images of each artifact to produce an exceptionally high-resolution 3D model. The resolution allows you to examine and appreciate these artifacts in unprecedented detail. Indeed, the model of one carved stone ball (X.AS 90) revealed traces of fine concentric circles on one projecting knob that had never been recorded before, despite the artifact having been in the museum for more than 100 years and examined by dozens of scholars. Traces of decoration and working are particularly clear in ‘matcap’ mode, which makes the artifact look like shiny metal, emphasising any irregularities in the surface.

The high resolution has also revealed evidence of how the balls were carved. Several of them show that the design changed as the balls were shaped, perhaps over the course of years of work. They are all relatively regular in dimension, a convenient size that would fit in one hand. It’s likely the stone carver held them in one hand and chipped or chiseled them with harder stone tools in their other hand.

You can examine this remarkable collection of Neolithic Scottish balls one after the other on this page. You can kick things off taking a look at a small group of them and once you get the feel of them, virtually palpate them all, starting with the exceptional Towie ball.

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YouTube masterclass on the Cosmati pavement

Thursday, June 14th, 2018

I see from the recent story on the opening of Westminster Abbey’s triforium galleries that I am not alone in my obsession with its Cosmati pavement, the glorious inlaid semi-precious stone, marble, metal and glass mosaic in front of the High Altar. It was commissioned by King Henry III for his rebuild of the less glamorous Abbey built by Edward the Confessor. Odoricus, an Italian mosaicist trained in the geometric, abstract, allegorical Cosmati style, brought tesserae from Rome and combined them with local materials to create a unique pavement.

The mosaic was finished in 1268 and has been the epicenter of monarchical ceremony ever since. Thirty-eight kings and queens have been crowned on the Cosmati pavement. Trod upon for centuries by the softest royal slipper and roughest pilgrim clog alike, the pavement suffered greatly from wear and ground-in dirt. The marble tiles, which Odoricus is believed to have sourced from the remains of ancient Roman floors, likely had a millennium’s head start on wear, and layer upon layer of wax and polish only served to darken and dim a surface that had once been vividly colored and highly reflective.

Concerned about its deteriorating condition, church officials covered most of the Cosmati pavement with carpet in the 1870s. That’s how it remained, revealed in part or on rare ceremonial occasions until 2008 when Westminster Abbey undertook a comprehensive two-year conservation project. The team cleaned the surface, removing the old wax, polish and dirt with specialized solvents. Stone and glass conservators stabilized damaged areas, repairing damaged glass, stone and mortar. The last step was applying a new protective coating to make it possible for the pavement to be displayed safely and to its best shiny, colorful advantage.

When the conserved pavement was finally revealed in 2010, I yearned to write about it but how could I without proper high resolution before-and-after images? That would be just be cruel. Unfortunately, no such photographs were to be found, not from the Abbey’s communications department, not in the press, not from funders like the Getty which is always great about providing high-res pictures when it comes to its own projects, not even in a publication that I could buy. To this day, almost a decade later, as far as I know there are no books whatsoever documenting the conservation.

The recent discussion on the Cosmati pavement view from the triforium drove me to try one more time. I checked a site dedicated to the conservation that the Abbey had put up in 2012, hoping its sad little 500-pixel images had been upgraded, but the site doesn’t exist anymore. Then I checked YouTube.

Y’all, Westminster Abbey’s channel has a playlist of 51, count’em 51, videos covering the history, symbolism and conservation of the Cosmati pavement. These films are absolutely riveting. Interested in the background of Henry III’s commissioning of the mosaic? Done. Curious about the cosmological significance of the design and how the precise date of the end of the world is calculated in the inscription? Keep watching. How about those glass tesserae so atypical in Cosmati style mosaics? Six videos about them enough for you? Want to hear from the stone masons about the Purbeck Marble background repair? The mortar repair? The yellow limestone repair? The black marble repair? Boom, a video for each.

Clear your social calendar for the next few days and make way for the greatest playlist ever played.

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Roman Republic coin collection digitzed

Friday, April 20th, 2018

Rutgers University has digitized its Ernst Badian Collection of Roman coins from the Republican era, a group of more than 1,200 coins that cover the period from 280 B.C. through 31 B.C. and the end of the Republic. Numismatics provide a unique perspective on history, not just monetary but political and social. The Badian Collection’s focus on Republican Rome makes it an invaluable (pun intended) resource for students of a period that in the earliest years of coin production has limited surviving contemporary historical documentation.

The collection begins with examples of cast bronze coinage, used in the earliest stages of monetization. The Republic moved to struck coins, some made of silver as the standard metal for coins. The denarius, half-denarius and quinarius all were struck from silver. Smaller denominations continued to be struck from bronze. Early coins found in the collection often imitate examples from the Greek colonies in southern Italy (Magna Graecia). The movement to silver denominations, like the denarius, unique to Rome, also is documented. There also are examples of brockage, an error caused when a coin adhered to the die and was struck a second time.

Coins in the collection also document the political aspects of striking coins unique to Rome. Young politicians served as official moneyers (tresviri monetales). They put their names on coins and selected motifs that conveyed messages about their families’ histories and the virtues they claimed these had. The most common message was the importance of military virtues. Patriotic images like the helmeted head of Rome and the she wolf appear together with images of deities. Reflecting affairs in Italy and beyond, changes in money weights and the addition of victory motifs show the fortunes of a rising empire. This includes evidence of the difficulties of the Republic during the Second Punic War, when Hannibal campaigned in Italy. An unusual use of gold as an “emergency” coinage during the Second Punic War is represented among the coins at Rutgers. The collection also documents financial pressures that caused debasement of currency in the same period. Victories were commemorated with special coins and the use of images of trophies won by the armies of the Republic.




The collection thus illustrates comprehensively the progressively heated political climate of the later Republic, and the various fortunes of charismatic leaders such as Marius, Sulla, Crassus, Pompey, Julius Caesar, Lepidus and Marc Antony, as well as those of numerous other ambitious families and individuals.

In-person access to the collection is limited by preservation and security concerns, so the digitization project opens up previously closed doors not just to scholars and academics, but to everyone who is interested in Roman and numismatic history. Rutgers graduate students did the work, spending four years photographing every coin from multiple angles and uploading the images to the dedicated website. They can be searched by keyword, which makes it easy to use the coins for research on a subject that is not literal monetary history.

The coins were collected by Harvard professor Ernst Badian who donated the coins to Rutgers in 2001. Professor Badian researched his own collection assiduously and wrote notes on many individual coins. Those hand-written notes identifying the coins, their dates, inscriptions and iconography have also been digitized so you can see scans of the original notes in his hand as well as transcriptions.

To search or browse the Ernst Badian Collection, click here.



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Digging the Carnoustie Bronze Age Hoard

Saturday, February 10th, 2018

If you’re at a loss on how to fritter away some time this weekend, I have a solution for you. Watch a couple of videos about the hoard of Bronze Age weapons discovered at the former Newton Farm in Carnoustie, eastern Scotland.

The first video captures the excavation in GUARD Archaeology’s Glasgow laboratory of the soil block containing the hoard. When I first wrote about this story last February, the only video available of the painstaking excavation of the 175-pound block of soil was a continuous scene a few seconds long of archaeologists scratching at the soil in minute movements. This video, uploaded to YouTube in December, summarizes the excavation and finds. There’s still minute scratching, which is awesome, but there’s so much more, plus descriptions of what you’re seeing.

In addition to the sensational weapons hoard, postholes and pits from two Neolithic rectilinear timber halls, one the largest Neolithic structure ever discovered in the British Isles, and gulleys and hearth remains from at least 12 Bronze Age roundhouses were found at the site. There wasn’t a great deal of information about these finds in February 2017, but in May, GUARD Archaeology Project Officer Alan Hunter Blair delivered a lecture packed with details, photographs and diagrams of the structures. That lecture is now available on YouTube.

He also covers the discovery of the hoard, its excavation in the lab and includes great pictures of the organic remains like the pouch the spearhead was found in and the fragment of strap still attached to the pommel of the sword. That part begins around the 15:45 mark.

I should warn you that he speaks very quickly, which is both a blessing and a curse. The former because it keeps the video nice and short at about 20 minutes; the latter because he zooms through it without looking up from his paper so delivery is a little dry and rushed. The information is fascinating, however, and the visual aids illuminating so it’s well worth watching.

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Vesuvius’ lesser known victims in 3D

Tuesday, January 23rd, 2018

Vesuvius took thousands of lives when it erupted on August 24th, 79 A.D., burying entire cities in layers of pumice, ash and mud. The cities of Pompeii and Herculaneum are the most famous of its victims, thanks to the extraordinary state of preservation in which they were found and the profound emotional impact of the plaster casts made from body cavities developed in the 19th century by pioneer archaeologist Giuseppe Fiorelli. Now the smaller, lesser known site of Oplontis is getting some high-tech attention.

Oplontis isn’t a city. It’s a multi-use villa complex composed of Villa A, a large luxury estate believed to have belonged to Poppaea, Nero’s second wife, and Oplontis B, an industrial structure that housed an active wine import-export concern. Villa A was, thankfully, not inhabited at the time of the eruption. The wine business, on the other hand, was hopping. Archaeologists have unearthed the skeletal remains of more than 50 people from a single room of Oplontis B. Thus far, they are the only human remains found at the site.

The Faces of Oplontis research project has taken a new approach to some of the unanalyzed skeletons from Oplontis B. Starting last summer, a team of archaeologists finished excavating the skeletons in Room 10 that hadn’t been fully unearthed yet and examined the remains in situ using photogrammetry (a technology that deploys high resolution photography to calculate measurements and proportions). Complete skulls were 3D scanned. All of the remains were osteologically analyzed and will be subject to mitochondrial DNA testing, stable isotope, trace element, parasitological and pathogen DNA analysis. The comprehensive study will shed light on working class Romans, their diets, health, geographical origins and, one hopes, cause of death.

Photogrammetry was also used before the excavation to record Room 10, making it a possible to create 3D model that shows were the people died (all the skeletons except for two which have been cast and moved to the front are still in their original locations at the time of death). The model gives researchers the ability to navigate the site without disturbing the remains, figuring out the stratigraphic data, which ones of them died first, by what means and how their bodies may have shifted. It’s of particular importance in Oplontis because it’s not clear what kind of volcanic fallout the site experience. Pompeii got the pumice rain. Herculaneum got the superheated mud. What took out Oplontis, which is very close to Pompeii, remains in question. The new research may help answer this once and for all.

Faces of Oplontis has created a dedicated website and have made their 3D models available to the Internet-going public. They are annotated to highlight and explain the main points of interest. I recommend clicking on the notes, especially for the skulls, because they contain a lot of information we civilians would not recognize from just looking.

Here is Room 10, the skeletons in situ before excavation:

Skull 2, an adult male of middle age (with an very cool unfused metopic suture):

Skull M, a young woman (25-30 years old) whose unborn baby was also a victim of Vulcan’s ire:

Check out the rest on the Faces of Oplontis Sketchfab channel and give them a follow to see more as the study progresses.

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Michigan State to create vast slave trade database

Saturday, January 13th, 2018

Funded by a grant of $1.47 million from the Andrew W. Mellon Foundation, Michigan State University will create a massive database that brings together scattered information about enslaved people as a priceless research hub for scholars and the public alike. The project, entitled Enslaved: The People of the Historic Slave Trade, will be one-stop-shop for people seeking slave data for academic, genealogical and personal interest purposes. They will be able to search for specific individuals, create charts, map routes and analyze demographic data.

MSU has long been at the forefront of African studies — US News and World Report ranked its African history graduate program the best in the country — and they are eminently equipped to combine scholarship with digital resources that students, researchers and anybody else who wants to delve deeper into the subject can use. This is the raison d’etre of MSU’s Matrix: The Center for Digital Humanities and Social Sciences which will be one of the databases linked together with other world-class databases to create the Enslaved tool.

“‘Enslaved’ brings new digital tools and analytical approaches to the study of African slavery and the Atlantic slave trade,” said project co-investigator Walter Hawthorne, professor and chair of MSU’s Department of History. “By linking data compiled by some of the world’s foremost historians, it will allow scholars and the public to learn about individuals’ lives and to draw new, broad conclusions about processes that had an indelible impact on the world.” […]

The partner projects in phase one are “African Origins and Voyages: The Trans-Atlantic Slave Trade Database” led by David Eltis, professor emeritus, Emory University, and Paul Lachance; “The Slave Societies Digital Archive” led by Jane Landers, Vanderbilt University; “Dictionary of Caribbean and Afro-Latin American Biography” and “Dictionary of African Biography and African American National Biography” led by Henry Louis Gates Jr., Steven Niven and Abby Wolf, Hutchins Center for African and African American Research at Harvard University; “Freedom Narratives” led by Paul Lovejoy, York University; “Legacies of British Slave-Ownership” led by Keith McClelland, University College, London; and “The Liberated Africans Project” led by Henry Lovejoy, University of Colorado Boulder; and “Slave Biographies” led by Daryle Williams, University of Maryland.

The first phase of the project is expected to about 18 months. The goal is develop a functional framework that proves that it’s even possible to link the eight online collections in the initial pilot into one searchable, cross-navigable, publicly accessible database. After that’s done, they can get down to the real nuts and bolts of getting so many moving parts to work together in harmony. It’s going to be a while, but the results could be groundbreaking. Dean Rehberger, director of Matrix and one the leaders of the project:

“In bringing together data from a number of highly successful projects, we have the opportunity from many small threads of data to weave together lives of enslaved individuals once thought lost to history.”

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The Making of a Roman Silver Cup

Sunday, January 7th, 2018

In 2014, the Getty Museum was fortunate enough to be allowed access to one of the world’s greatest Roman treasures: the silver hoard discovered by a farmer ploughing his field in Berthouville, Normandy, France, in 1830. An unprecendented assemblage of silver-gilt objects that epitomize the best Roman silversmithing had to offer, the plates, bowls, cups, pitchers, statuettes are crafted with high relief details, scenes from mythology and elaborate designs that were probably the dining set of an incredibly wealthy Roman. Inscriptions by the donor, one Quintus Domitius Tutus, dedicating them to the Gallo-Roman version of the god Mercury indicate they were later used for ritual purposes and deliberately buried, but first they were likely used to set a fabulously splendid banquet table.

Cup with Centaurs, 1–100 A.D. Cup with Centaurs, 1–100 A.D. Cup with Centaurs, 1–100 A.D.. gold det. Photo courtesy the JP Getty Museum.

The Getty Villa in Malibu played host to Berthouville’s most famous citizens starting in December 2010 as part of a collaboration with the Bibliothèque Nationale de France to employ its own greatest assets — the deep bench of conservation experience and know-how — to conserve and restore the objects. They had been roughly handled in the initial cleaning back in the olden days of the 19th century, so they needed cleaning, restoration and punctilious research to revive their shine. The work Getty conservators did uncovered a great deal of new information about how Roman silversmiths worked and how 19th century restorers worked.

Because of their aid in restoring these precious objects, the Getty was given the sole opportunity to exhibit the treasure and other fine silver pieces from the collection of the Cabinet des Médailles at the Bibliothèque Nationale de France. Ancient Luxury and the Roman Silver Treasure from Berthouville ran from November 2014 through August 2015. It was the first time the Berthouville treasure has ever been allowed to leave France and very possibly the last.

I wrote about the exhibition at the time, but I missed the very cool YouTube video showing how Roman silversmiths would have created one of the exquisite cups in the treasure. There’s also a cool 3D rotating view of the Mercury statuette that is one the stars of the Berthouville show.

The video quality on this one leaves something to be desired, but the content sure doesn’t. It’s a lecture by Getty antiquities curator Kenneth Lapatin on the background of the Berthouville Treasure.

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Largest early world map stitched together virtually

Friday, January 5th, 2018

The largest known early map of the world has been digitally stitched together into one single glorious panorama of exotic far-flung lands and mythical creatures. This virtual parturition births into the world the cartographic baby of Urbano Monte, a 16th century geographer who created the planisphere in 1587. The 60-page manuscript covered depicted all the known world from the North Pole to the much conjecture but still unknown Terra Australis way down south. The 60 manuscript pages when put together to create the complete top-down view of the earth Monte envisioned are 10 feet by 10 feet, the largest early non-mural map known.

That’s not its only intriguing attribute. It’s a North Polar projection, aka an azimuthal equidistant projection which accurately positions landmasses along global meridians. While there are a few examples of the form before Monte’s planisphere, his use of the North Polar projection in this map was a major step forward and later cartographers borrowed from it liberally. He drew every part of the map by hand on those 60 sheets, labelling every land mass, every hill, every dale, every river, country, ship and coastline, practically every tree. There are charts that record the length of days and nights during the year, the strength of the sun’s rays at different times, a lunar eclipse, a wind chart and many tidy explanations of geographic nomenclature and concepts. It is unreal, and I’m not just saying that because of the mutant fish monsters and mermen living it up in the Terra Austraulis Ignonita, which appears to have basically been Vegas before Bugsy Siegal.

It was this information dense by design. Monte included information on weather, topographic data, the amount of daylight, and tons more because he wanted it to be the complete resource for the learned statesman, a scientific planisphere that was to be secured in a wood panel and revolve above the heads of viewers via a pin through the North Pole, a slowly turning planet, if you will. The revolving map was another innovation of Monte’s.

Unfortunately he never did put the manuscript sheets together and create his great masterpiece. The masterpiece has remained bound in Italian sheep leather for 430 years. (There are two other manuscripts known, one with missing areas, the other a later one of 64 pages.) Making Urbano Monte’s dream come true is now possible without destruction, as long as you have the expertise, resources and dedication to put in the many hours of work takes. The David Rumsey Map Collection at Stanford University recently acquired the manuscript and has been digitizing its pages. They’ve done a spectacular job and the end result is an online resource that allows visitors to zoom in to enormously high resolution images of each page as well as to see a digital composite of the pages in their proper order, assembled just the way Monte instructed on one of the pages of the planisphere. There’s a top-down view of the 10×10 square map, several reprojections that map the virtual map on to the globe, as a Mercator projection, etc. Every label is easily readable thanks to the zoom, resolution and Monte’s elegant, clear-as-a-bell handwriting. It’s a digital masterpiece of an analog masterpiece.

When we georeference Monte’s map and then re-project it into Mercator projection we immediately understand why he used the north polar projection instead of Mercator’s: Monte wanted to show the entire earth as close as possible to a three-dimensional sphere using a two-dimensional surface. His projection does just that, notwithstanding the distortions around the south pole. Those same distortions exist in the Mercator’s world map, and by their outsized prominence on Monte’s map they gave him a vast area to indulge in all the speculations about Antarctica that proliferated in geographical descriptions in the 16th century. While Mercator’s projection became standard in years to come due to its ability to accurately measure distance and bearing, Monte’s polar projection gave a better view of the relationships of the continents and oceans. In the 20th century air age, the polar projection returned as a favored way to show the earth. Monte would have been pleased to see a modern version of his map used in the official emblem of the United Nations.

That is totally cromulent map. Imaging making something even remotely that accurate with colored pencils and 60 sheets of paper (well, sheepskin). You must browse through every page of this map and zoom way in to the spot all the animals, monarchs on thrones, irate mermen, even the aritst himself in not one, but two self-portraits. It’s too good not to be enjoyed in all its glory. Then you can pay homage to the master by seeing it look incredible connected as he had intended it to be 430 years ago. It’s been a long time in coming.

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Happy New Year’s Eve!

Sunday, December 31st, 2017

May Janus make his two (or four) faces to shine down upon your endeavours. May Bacchus’ leopard-drawn chariot safely convey you in whatever condition you happen to find yourself to and from your destinations. May you ring in the New Year with people you love, or at least people you don’t actively hate, and when the clock strikes midnight, raise a glass to we many, we happy many history nerds. Long may we drone on about our favorite subjects to our friends and family until they beg us to shut up for just one second or stuff their ears with dinner table napkins. Hey, it’s a gift.

We’ll meet back here tomorrow for a new post, the yearly retrospective that has become such a firmly established tradition for me now that it wouldn’t feel like the year has turned without it. Have a wonderful night!

P.S. – Aw, I can’t leave you with nothing at all to while away the time between breakfast and party. Janus, donchaknow. One looks back even as one looks forward.

This is a nifty 3D digitial reconstruction of St. Salvator’s Quad and Chapel at the University of St Andrews. The great spire of St. Salvator’s is original to the 15th century structure, but the rest of the quad today bears little resemblance to what it looked like when it opened in 1450. It was altered irrevocably starting with the great upheavals of the Reformation in Scotland, and indeed, a pivotal event in that history took place in the quad: the burning at the state of Patrick Hamilton, a 24-year-old scholar and advocate of the ideas of Martin Luther. He who was the first person condemned to die and executed for espousing Protestantism in Scotland. That was 1528.

With the 500the anniversary of the Luther’s nailing of the 95 theses to the door of Wittenberg castle, University of St Andrews researchers collaborated with Smart History to set the scene virtually so we could get an idea of what St. Salvator’s looked like in its medieval heyday.

St Salvators – St Andrews 1559 from Smart History on Vimeo.

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3D animation of Sculptor’s Cave

Tuesday, December 5th, 2017

Sculptor’s Cave in Moray, Scotland, is an archaeological gem among archaeological gems. It is the main cave of several set in the craggy ocean-facing cliff that was used by local peoples for millennia. In the Bronze Age deposits of jewelry and ceramics were made there, and the abundance of human skeletal remains, many of children, from that era also found in the cave suggests it held some ritual funerary significance. The skull of one the children appears to have been defleshed post-mortem. Less sensational that the defleshed child but just as meaningful historically are the Pictish symbols carved on the walls of the entrances.

This unique location has been kept hidden from public view (from most people’s view, for that matter) for its own protection and for everyone else’s because it is only accessible at low tide. That’s going to change now, at least virtually.

A new project, funded by Historic Environment Scotland and carried out by Professor Ian Armit and Dr Lindsey Büster at the University of Bradford, has created a high-resolution animated model of the cave. Through laser scanning and structured light scanning, the details of the cave have been digitally preserved to allow for more in-depth exploration of the cave – and the Pictish symbols – no matter whether the tide is high.

“The Sculptor’s Cave is a fascinating location, known for decades for the richness of its archaeology and for the unusual Pictish carvings around its entrance,” said Professor Armit of Bradford’s School of Archaeological and Forensic Sciences. “This walk-through animation allows us to study the carvings in detail, and to present this inaccessible site to the public through online and museum displays. It also ensures that we can preserve the cave and the carvings digitally for future generations to study.”

Here is an animated flythrough of Sculptor’s Cave in the 3D model created using the scan data. This is just a glimpse of what’s to come. Next year the results of the study will be published by the Society of Antiquaries of Scotland. The animated model will be deployed at the Elgin Museum so that visitors will be able to see the cave and its carvings in detail.

In keeping with the mini-theme I seem to have accidentally developed over the past couple of days, Historic Environment Scotland has launched an even more ambitious digitization project that will see 50,000 items from its archives scanned, uploaded to the web and made freely available to all. The records include photographs taken by HES’ predecessor organizations, the Royal Commission on the Ancient and Historical Monuments of Scotland and Historic Scotland. For more than a century (1908 to 2015) RCAHMS’ brief was documenting everything it could about Scotland’s history as seen in physical structures and the environment. There are a thousands of aerial photos shot from airplanes, pictures of buildings (and therefore street life) throughout the decades, among many other things. RCAHMS merged with Historic Scotland, steward of many of Scotland’s listed buildings, in 2015. As a result HES today has an enormous collection of photographs stored in their headquarters Edinburgh, but they’re only accessible to people who can get to John Sinclair House in person.

The digitization initiative will take those 50,000 photos out of their green archive boxes and into pixel space. Once the scanning is complete, the images will be uploaded to Canmore, HES’ online catalogue of its enormous collection of records (including a fine array of historic photographs like Misses Reid and Bonshaw looking fierce in their garden on July 10th, 1890) and catalogue entries of archaeological sites, survey data, architecture and tons more.

Jacobite Risings model by Brick to the Past on display.Not related to the theme but too awesome not to genuflect before is a new exhibition at Stirling Castle called The Jacobite Risings: The Fight for Britain’s Throne. It recreates key events and locations in the Jacobite rebellions in LEGO. That’s right, one million bricks and 2000 tiny soldiers were used to bring history to life for all LEGO-loving peoples, child and child-at-heart alike. Two of the scenes include miniature buildings whose real life versions are cared for by Historic Environment Scotland. One is the starkly white medieval tower house Corgarff Castle. The other Ruthven Barracks, a military fortification on a high promontory built after the 1715 Jacobite uprising by George II to keep the ever-restless Jacobites from re-rising. It didn’t work in the long-term and the barracks were taken by a frontal assault in 1746.

The Jacobite conflict writ in LEGO is currently opened to the public on Monday and runs through February 2nd, 2018. You can even make a day of it and visit Ruthven Barracks after you see mini-Ruthven at Stirling. Unfortunately the hat trick is not an option because Corgarff Castle is closed until the spring. (It is in the middle of nowhere anyway, so probably would have made it a multi-day LEGO inspired pilgrimage.)

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