Hope

History

In the former East Kirk there is a beautiful ‘arts and crafts’ stained glass window featuring the ‘three graces’ of Faith, Hope and Charity. This blog completes the explanation of the tryptic.

The definition of the word ‘hope’ indicates that it is an expectation and desire of receiving something good. Conversely, hope can be refraining from despair and not giving up. It is not about certainty, but about an assurance that something is likely – it is not wishful thinking. For a Christian, hope is clearly based on the belief that God’s word and His purpose in their life can be trusted. Thus, hope gives a Christian a foundation for their life, to avoid despair and cynicism and to strive for good. It becomes something which they ‘hold on to’ through thick and thin, trusting in God’s promises. This meaning of hope is different to the secular meaning of ‘I hope it happens’ because it is not wishful thinking.

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The ‘Hope’ window in the former East Kirk

How can artists represent this? They have used a number of different symbols, including a harp, a flaming brand, an anchor, a palm frond, or hands with fingers closed together. In this window, the unknown artist has used an anchor, which Faith holds across her chest.

 

Discussion of Love (Charity) was put on the Blog for Valentine’s Day on 14th February 2016 and Faith on 3rd August 2016, where some of the background to the window was included. Finally a photograph of the whole window is shown here, so that the three figures can be seen in context. At present it is not possible to see the window, but it will be a feature on the ground floor of the completed Mither Kirk Project.

 

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The whole of the ‘Three Graces’ window

Sir George Skene

History

Recently a diseased tree was removed from just inside the Back Wynd gate into St Nicholas Kirkyard. As a result a number of gravestone have become much more visible than they were previously. An elaborate one on the wall will be shown at a later date, but whilst photographing it, another memorial was noticed almost hidden at ground level, and partly covered by the sawdust from the tree removal. One of the people interred there is a significant person in the life of the city of Aberdeen and, indeed, his town ‘lodgings’ are in the news at the moment as well.

He is Sir George Skene of Fintray and Rubislaw, better known as Provost Skene, whose ‘house’ is being surrounded by the new Marischal Square development, and which is to house a new museum celebrating famous Aberdonians over the centuries. Provost Skene’s House is quite close to the former East Kirk which will complement with the stories of the development of Aberdeen – its buildings and people.

George Skene was born in 1619 at the Mill of Potterton in Aberdeenshire. His father died when he was just 12 years old and his half-brother arranged for him to be apprenticed to George Aedie who had strong trading connections with Danzig (modern day Gdansk, Poland) in the Baltic. Living there, he proved to be a very able trader and became a wealthy man. He returned to Aberdeen in 1665, then aged 36, and the following year purchased the Wester Fintray estate (near Kintore) with some of the money he had made. Three years later, in 1669, he purchased a mansion on Guestrow – now known as Provost Skene’s House. The house had been built in 1545 and has a fascinating history. Not only was George Skene a significant trader, he also became involved in the civic life of the area becoming Provost of Aberdeen in 1676, a position he held until 1685. During this time he used the house on Guestrow as his town ‘lodging’. He was also a benefactor of King’s College and the University of Aberdeen in general. He was knighted in 1861 by James, Duke of York (later James VII of Scotland). After ‘retiring’ as Provost, he bought the house and estate of Rubislaw in 1687 and used this as his main residence. George Skene never married, but supported his brother’s children. However, his nephews disappointed him, so much of his wealth was passed to his niece’s sons and his property to the family of his former employer. When he died on 9th April in 1707, aged 88 years, he also left 1,000 merks to the Kirk Session of St Nicholas to be used for the poor of the parish. A merk was worth 13 shillings and 4 pence, that is two thirds of a Scots Pound.

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The gravestone which features ‘Provost Skene’

Because of its position, it is very difficult to photograph George Skene’s tombstone properly, and it has many other people listed on it. The two photographs show the whole stone (just inside the Kirkyard to the Union Street side the Back Wynd gate) and a closer view of the part of the inscription about George Skene taken when there was a low morning sun.

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The inscription related to Sir George Skene of Fintray and Rubislaw

Perthes Disease

Archaeology,

It is surprising how many diseases, even relatively uncommon ones, can be identified in human remains uncovered during an archaeological dig. That was particularly true of the large dig which took place in the former East Kirk of St Nicholas in 2006. This blog deals with one of these less common conditions – usually known as Perthes Disease, but more properly known as Legg-Calve-Perthes disease (after the three doctors who identified the condition). The medical term is avascular necrosis.

The condition arises in childhood, between the ages of about 2 and 10, with the highest incidence in the range of 4-8 years. At this age, the bones are still growing, so anything which interferes with this is likely to cause problems. Perthes disease affects the head of the femur – the ball of the thigh bone which fits into the hip. For a reason which is not understood, there is an interruption of the blood supply to this actively growing region of the bone. That causes the bone cells to die – that is where the term avascular necrosis comes from. So the bone stops growing and there is a loss of bone mass resulting in a weakness and wearing away of the bone. At this stage a child will suffer aching in the hip (similar to ‘growing pains’) and may develop a limp. However, with time the blood supply re-establishes and the bone starts growing again. But damage will probably have been done to the bone during the phase when it was dead, often a change of shape will have occurred, so a deformity is a common outcome.

E84 St Nicholas Site Week of 05.06.06 Gemma holding diseased bone Aberdeen Art Gallery & Museums Collections
Damage to the head (ball) of the femur – seen on the lower left

The photograph shows one of the examples found in the dig. This is of an adult man – it is more common in men – and the deformity of the ‘ball’ is quite clearly seen. The hip end of the femur is to the left, and the knee end to the right. At the head end of the bone, the ‘ball’ is pointing downwards. Obviously this is supposed to be round, but it clearly is not. The consequences for the sufferer is an initial shortening of the leg (it usually only affects one leg) giving a pronounced limp and there could be quite limited movement depending on the severity of the deformity. Longer term it is likely that osteoarthritis will develop with all the pain and difficulty which that will bring.

We are grateful to Paul Duffy, osteoarchaeologist, for the detailed studies on the human remains (http://www.discoverbutearchaeology.co.uk/).

(The photograph is copyright Aberdeen Art Gallery & Museums Collections and used with permission.)

Look up!

History,
Post 74 (a) General view of east building
The east end of the building looking from the north-east

The east end of the Kirk of St Nicholas building seems rather austere with its fairly plain granite walls, although the windows do have some nice sandstone tracery. The walls at the east end date from 1837, although towards the west of the side walls there may have been some rebuilding or repair after the fire in 1874. For the most part the granite seen is simply the outside of the solid granite wall. However, at the lowest level, around St Mary’s Chapel at the top of Correction Wynd, the granite is a cladding on the outside of the 15th century wall which still remains on the inside.

However, this plain exterior is deceptive if one looks right up to the top of the east end. The first photograph shows a general view of this end of the building looking from the north-east. At roof level and above, it can be seen to have some quite elaborate adornments. These also are in granite. A close up, before cleaning and repointing work, of one of these is shown in the second photograph.

OLYMPUS DIGITAL CAMERA
Detail of one of the finials before restoration

 

Looking more closely at the first photograph it can be seen that there is quite a complex roof structure above the apse, with three separate gables set at right angles to each other, facing north, east and south). This produced some interesting dilemmas during the roof replacement because there are hidden sumps in the gullies between the gables. These require drains for the rainwater and the building design requires these to be internal.

 

Post 74 (c) Apse Roof Interior altered
Interior view of gables and roof structure

The third photograph was taken inside the roof space during the preparation for the roof repairs. It shows the interior structure of one section of the apse roof. The stone wall towards the left is the interior of the north gable wall (shown in the first photograph it is partly in shadow) whilst the stone wall towards the right of the photograph is the inside of the east gable wall (facing left in the first photograph). Between is the ‘V’ shaped timber of the ‘north’ sump. On the first photograph this is hidden behind the buttress which supports the pinnacle between the two gables discussed. Also in the third photograph the internal drain can be seen going across this wall, draining from the ‘north’ sump (left) to the ‘south’ sump (not visible) from where there is a connection to the external downpipe. Buildings may look simple from the outside, but the hidden internal structures can be complex!

Faith

History

In February this year, we featured Charity from the window featuring Faith, Hope and Charity in the former East Kirk. This blog looks at the left hand light – ‘Faith’. It is shown in the photograph.

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Faith as shown in a window in the former East Kirk

In Christianity, Faith, Hope and Love are known as the ‘theological virtues’. These three virtues are highlighted in Paul’s first letter to the Corinthians, chapter 13. All three virtues point people towards God and Paul exhorts his readers to aim likewise.

How we move from Paul’s written word to the artistic depictions of the ‘three graces’ of Faith, Hope and Love is more difficult. There are early Roman writings about three martyred female saints bearing these names (Fides, Spes and Caritas in Latin). Their mother was Sophia (Greek for Wisdom). Some sources suggest their martyrdom was commemorated on 1st August, whilst the Eastern Orthodox Church had the feast day on 30th September. As with most of these early saints there is scant reliable information. Nevertheless, the history, real or otherwise of these women, produced icons featuring them. These would then lead to these more recent depictions of these three early martyrs in works of art in various media.

What is ‘faith’? It is difficult to be precise and also succinct, but it has been defined as ’the theological virtue by which a Christian believes in God’. Most acutely, this shows in accepting the redemptive act of Jesus in his crucifixion and resurrection. It is, therefore not surprising that most artistic representations of ‘Faith’ include an empty cross. Another common feature is a lamp, candle or chalice. The representation of Faith in this window in the former East Kirk is no exception – Faith is seen holding a cross in her right hand and what appears to be a lamp in her left hand (unfortunately the support bar partially blocks this part of the picture). Her expression is beautifully tranquil.

Dr James Gregory

History
Post 72 (a) DSCN0008 Gregory Memorial in Drum's Aisle 2013
The Gregory Memorial in Drum’s Aisle

High on the west wall of Drum’s Aisle in the Kirk of St Nicholas Uniting is an elaborate monument, as shown in the first photograph. This memorial relates to two members of the distinguished Aberdeen Gregory family, five generations of whom became professors. To the left of the monument reference is to Elizabeth Gregory, nee Forbes, who was married to John Gregory. The latter was professor of medicine at King’s College in Aberdeen and then moved to Edinburgh University. The section to the right refers to James Gregory, son of Elizabeth and John Gregory. The inscriptions are in Latin, and for James Gregory it records that he visited the place where his mother was buried and, together with his wife and surviving children, to mourn the passing of his daughter Jane MacLeod Gregory in 1813 at the tender age of eight (see below).

Like his father, James Gregory was an Aberdeen-born physician who achieved great distinction. The family had moved to Edinburgh in 1764 when James was 11 years old. He graduated in medicine from Edinburgh University in 1774. His father died whilst he was still a student and he delivered the lectures his father should have given. Just two years after graduating he was appointed to the chair which his father had held. Later he became first physician to the king of Scotland (George III), a position renewed by George IV in 1820. James Gregory died in April 1821 and is buried at the Canongate Kirk in Edinburgh.

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Close up of the Latin inscription (translation to the right)

A closer view of the section referring to James Gregory is shown in the second photograph. The translation of the Latin reads: “Here also her son James Gregory, MD, FRSE, Professor of Medicine in the University of Edinburgh and His Majesty’s principal physician in Scotland – who when a boy, as yet a stranger to sorrow, had paid the just dues to his beloved mother – after 52 years, now an old man, and not unacquainted with misfortunes, but glad to revisit with his wife and children this district and his native city, surrounded by four of his sons and a circle of weeping friends did sorrowing pay the same just dues to his eldest daughter Jane MacLeod, a child most winsome, of highest promise, her father’s delight, her mother’s other soul, by cruel death snatched away in the eighth year of her age, 27 August, 1813”

During his academic life James was popular with students but often not far from controversy. However, he is probably best remembered for his popular remedy of Gregory’s Powders also known as Gregory’s Mixture. This is a mixture of powdered Rhubarb root (2 parts), Light Magnesium Carbonate (6 parts) and Ginger 1 part. The normal dose was about 1 to 4 g. The powder mixture could be taken as such with a draught of water, or dispersed in the water before taking. It was used as a stomach sedative and also had mild laxative properties. It did not taste good – but there is the old adage that if it tastes bad it does you good! Along with many ‘traditional’ medicines, it has fallen out of use in the last half century.

 

 

 

Ankylosis

Archaeology,

Ankylosis is the medical term used to describe an abnormal adhesion and rigidity of the bones in a joint. The potential causes are many, but frequently arise from injury or disease. Initially in ankylosis there is inflammation in the joints affecting the tendons, muscles and the membranes lining the surfaces of the bones. This is often associated with swelling and pain. The consequence of this is that the bones do not move easily and so they tend to become fixed in one particular position, which may be the one which causes least pain. However, this immobility can then lead to the bones fusing together. When this has happened no movement is possible in the joint, although surgical intervention can sometimes re-establish movement, such as with an elbow or shoulder. There are several different types of ankyloses. One of the common forms arises when the person has an inflammatory disease, such as rheumatoid arthritis which most often affects the fingers and wrist. During the archaeological dig in the former East Kirk a number of examples of ankylosis were found among the human remains, but they were affecting the feet.

E84 St Nicholas Site Week 36 Foot bones from SK665 Aberdeen Art Gallery & Museums Collections
Two metatarsal bones (to the right) fused to two tarsal bones (to the left)

The accompanying photographs show two examples of the completely fused bones in the foot which were found. The first one shows two metatarsals (the long bone in the mid-foo, to the rightt) fused to tarsal bones (in the ankle, to the left), whilst the second photograph shows a toe.

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A toe showing the bones completely fused together

 

 

 

 

There is a tendency to imagine that this type of disease is ‘modern’ and confined to humans. The examples shown were of individuals who lived several hundred years ago. However, paleopathologists have found evidence of ankylosis in the fossil record, including one example of the famous dinosaur Tyrannosaurus rex!

(The photographs are copyright Aberdeen Art Gallery & Museums Collections and are used with permission).

Archibald Simpson

Uncategorized

Archibald Simpson was born on 4th May 1790, his parents’ ninth child, in a house on Guestrow, Aberdeen. Much of Guestrow was demolished during the slum clearance, but a plaque is in place on what remains of the road (parallel to Broad Street across from the Town House extension). At Aberdeen Grammar School Archibald Simpson was a contemporary of the poet Byron. At the age of 13 he went to Marischal College but had to leave a year later when his father died. At the age of 20 he went to London as an apprentice architect, later spending some time in Italy before returning to Aberdeen in 1813 where he opened his architectural practice in his old home in Guestrow. He moved the practice a number of times, to Union Street (where a fire destroyed all his drawings), Belmont Street and finally to Bon Accord Street. There are, or were, because some have been lost, many important buildings designed by Archibald Simpson in the city. The Assembly Rooms, now the Music Hall, is one of his prominent buildings, currently undergoing restoration. Others include The Old Royal Infirmary, St Andrew’s Cathedral, the Triple Kirks and the Athaneum.

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Archibald Simpson’s East Kirk from the south

Simpson also designed the East Kirk of St Nicholas in 1835. Following the demolition of the previous East Kirk, the new building was built and then dedicated in 1837. It is worth noting that John Smith, as city architect, disapproved of the design. The first photograph shows the building as it now appears, which is more or less unaltered from his day.

 

Post 70(b) Archibald Simpson Grave
Archibald Simpson’s simple grave stone

 

Archibald Simpson died when only 56 years old. He had been away on business to Edinburgh and then Derby. On his return he was showing signs of developing a fever. Over the next few days at his home at 1 East Craibstone Street, he rapidly deteriorated and died on 23rd March 1847 just one week after his return. He had been a bachelor, played the violin and was variously described as ‘a little, active man, always carrying plans under his arms’, ‘shy and retiring’ and having ‘a strong and eccentric character’.

As befits a man of granite, his grave in the Kirkyard at the Kirk of St Nicholas, is marked by a simple granite slab at ground level, close to the East Kirk building, as shown in the second photograph.

The bells – bringing the story up to date

History

 

Aberdeen Art Gallery and Museums Collection
Some of the bells. Some have two clappers to allow them to be used for the Westminster chime

By 1952 the carillon in the Kirk of St Nicholas had been used very sparingly for the previous 50 years or more. Things were about to change. That year Queen Elizabeth acceded to the throne and the City Council decided that the bells should be recast so that they could be used properly. Accordingly Messrs. Gillett and Johnston of Croydon were given the contract. During the process, the composition of the metal was corrected. Back in the spire, the old wooden frame for the bells was replaced by a steel framework. The bells were rehung later in 1952 and dedicated on 31st October 1952 at which ceremony a recital was given by Clifford Ball, Carillonneur at Bournemouth. A magnificent sound was heard demonstrating that the recasting had been successful. A plaque in Drum’s Aisle records the recasting.

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The list of bells with pitch and dimensions

So popular was the new sound that in 1954 the Council decided to add a further 11 bells to the carillon, also made by Gillett and Johnston. These were dedicated on 17th September 1954 and Clifford Ball again gave a recital. One of the photographs is of a framed list giving details of each of the bells, which together have a 4-octave range. It is the largest carillon in the United Kingdom (along with one other). Some of the bells, which are a floor above the actual carillon (where the louvres are in the tower), have two clappers. This is to allow the bells to be used with the clock. The Westminster Chime is normally sounded every quarter of an hour, the clock activating the mechanism which is operated by compressed air. There is also a mechanism which would allow automatic playing of some music through something like a large musical box with metal pins (shown in photograph).

Aberdeen Art Gallery and Museums Collection
The system for automatic playing with some drums

 

Since the recast bells were installed, there has been a City Carillonneur. The present incumbent is Ronnie Leith, who gives recitals at various times. Most common is before worship on a Sunday morning, but also through the week, especially in summer.

Ronald Leith City Carilloneur Playing the Carillon in St Nicholas Church Aberdeen Art Gallery and Museums Collection
Ronald Leith, City Carilloneur, playing the carillon

 

 

 

 

 

 

Aberdeen Art Gallery and Museums Collection
The largest bell which sounds the hour

 

 

 

 

The previous posts about the bells were on 12th March and 9th April 2016.

The young Jesus in the temple

History

In New Testament times, devote Jewish families tried to visit the Temple in Jerusalem each year for the Festival of Passover. When he was 12 years old Jesus went with his family as part of a larger group. After the Festival was over, the group set off back for their homes in Nazareth. Jesus’ parents assumed he was with the group and it was only at the end of the first day of walking when they could not find him that they realised their mistake. The anxiety can be imagined as they hurried back to the big city looking for him. After three days of frantic searching they found him in the Temple courts asking questions and debating with the teachers of the Law. People were amazed at his understanding. The full story can be found in St Luke’s Gospel, Chapter 2, verses 41-52.

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Mary and Joseph find Jesus debating with the teachers of the Law in the Temple

All the stained glass windows in St Mary’s Chapel feature Mary, Jesus’ mother. In the apse, there is a large window, which depicts three scenes, two of which have featured previously. To the right hand side of the window is a depiction of the scene above, as interpreted by Christopher Whall, the artist who created the window in 1899. The image shows Jesus, obviously making a point in the discussion with the wise old teachers. They have out some of the scrolls they have been talking about and look a little perplexed. In the background, looking through the window, are Jesus’ parents, Mary and Joseph.