A missing figure on slab fragment no 2 from Monifieth, Angus, the a'Chill Cross, Canna, and some implications of the development of a variant form of the Virgin's hairstyle and dress in early medieval Scotland
2000; Society of Antiquaries of Scotland; Volume: 129; Linguagem: Inglês
10.9750/psas.129.597.647
ISSN2056-743X
Autores Tópico(s)Medieval Literature and History
ResumoMonifieth 2, a late Pictish-style slab, is decorated with a figure identified as female by the position of her brooch.Part of the brooch is missing and the loss is explained by reference to a Virgin and Child scene on the a'Chill Cross, Canna, which suggests the damaged area of Monifieth 2 originally represented a Christ-child of Adorational type.The unusual form of the Virgin's hairstyle at both Canna and Monifieth is also analysed within the context of the development of lona school iconography.Seven lozenge insignia are identified and examined alongside the brooches.The decoration of the Canna cross is seen to derive from iconography in Angus centred on Aberlemno which is also the epicentre of Madonna icons evolving from lona models.Aberlemno is thus deduced to be the centre of a ninth-century Columban mission, with Canna as an outpost, for the conversion of Viking western Scotland. VIRGIN AND CHILD: ADORATION SCENES? A MISSING FIGURE ON MONIFIETH 2CFour Class 2 and Class 3 slabs from Monifieth, Angus (Alien & Anderson 1903, part 3, 228-30, 265, figs 241-3, 275), have been in the keeping of the National Museum of Antiquities (now Royal Museum of Scotland), since the 19th century (Neish 1871, 71-7).Despite their great interest, they have not attracted the close scrutiny that this controlled environment should facilitate.Amongst these monuments, the small and substantially complete slab, no 2 (Alien & Anderson 1903, part 3, 229-30, fig 242A/B) is of particular interest.Although now damaged at the base, chipped along the edges and having suffered some abrasion to the broad surfaces, sufficient remains to allow a detailed study of its decorative programme (Appendix 1).Carved in low relief, face A is dominated by a contoured ornamental cross which fills the unbordered face and is rendered more prominent because the flanking quadrants have been left void (illus 1).Decoration on face C is structured more loosely within a framing border of confronting birdheaded beasts (illus 2 & 3). 1 This face is subdivided into three panels by a plain T-shaped
Referência(s)