34 10 568 https://openvirtualworlds.org/broadlands/files/original/349/book_of_kells_cover.jpg 0100b6e9c29746e840c7cfb90f3e2753 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cover Image - Book of Kells Description An account of the resource The Book of Kells contains the four Gospels of the Christian scriptures written in black, red, purple, and yellow ink in an insular majuscule script, preceded by prefaces, summaries, and concordances of Gospel passages. Today, it consists of 340 vellum leaves, or folios. The majority of the folios are part of larger sheets, called bifolios, which are folded in half to form two folios. The bifolios are nested inside of each other and sewn together to form gatherings called quires. On occasion, a folio is not part of a bifolio but is instead a single sheet inserted within a quire. The extant folios are gathered into 38 quires. There are between four and twelve folios (two to six bifolios) per quire; the folios are commonly, but not invariably, bound in groups of ten. Some folios are single sheets, as is frequently the case with the important decorated pages. The folios had lines drawn for the text, sometimes on both sides, after the bifolios were folded. Prick marks and guide lines can still be seen on some pages. The vellum is of high quality, although the folios have an uneven thickness, with some being close to leather while others are so thin as to be almost translucent. The book's current dimensions are 330 by 250 mm. Originally, the folios were of no standard size, but they were cropped to the current size during a 19th-century rebinding. The text area is approximately 250 by 170 mm. Each text page has 16 to 18 lines of text. The manuscript is in remarkably good condition considering its great age, though many pages have suffered some damage to the delicate artwork due to rubbing. The book must have been the product of a major scriptorium over several years, yet was apparently never finished, the projected decoration of some of the pages appearing only in outline. It is believed that some 30 folios of the original manuscript have been lost over the centuries. Ussher counted 344 folios in 1621, but several leaves had already been lost by then. The overall estimate is based on gaps in the text and the absence of certain key illustrations. Source A related resource from which the described resource is derived The Book of Kells is one of the finest and most famous of a group of manuscripts in what is known as the Insular style, produced from the late 6th through the early 9th centuries in monasteries in Ireland, Scotland and England and in continental monasteries with Hiberno-Scottish or Anglo-Saxon foundations. These manuscripts include the Cathach of St. Columba, the Ambrosiana Orosius, fragmentary Gospel in the Durham Dean and Chapter Library (all from the early 7th century), and the Book of Durrow (from the second half of the 7th century). From the early 8th century come the Durham Gospels, the Echternach Gospels, the Lindisfarne Gospels (see illustration at right), and the Lichfield Gospels. Among others, the St. Gall Gospel Book belongs to the late 8th century and the Book of Armagh (dated to 807–809) to the early 9th century. Scholars place these manuscripts together based on similarities in artistic style, script, and textual traditions. The fully developed style of the ornamentation of the Book of Kells places it late in this series, either from the late 8th or early 9th century. The Book of Kells follows many of the iconographic and stylistic traditions found in these earlier manuscripts. For example, the form of the decorated letters found in the incipit pages for the Gospels is surprisingly consistent in Insular Gospels. Compare, for example, the incipit pages of the Gospel of Matthew in the Lindisfarne Gospels and in the Book of Kells, both of which feature intricate decorative knot work patterns inside the outlines formed by the enlarged initial letters of the text. 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For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bell https://openvirtualworlds.org/broadlands/files/original/1/347/DSC02701.JPG efab116ba9356bcc7cbccfda379c77f0 https://openvirtualworlds.org/broadlands/files/original/1/347/DSC02702.JPG b2ee0b897ce865197926628cac68d397 https://openvirtualworlds.org/broadlands/files/original/1/347/DSC02703.JPG 057cb6094872cf9df7a1b738511b89dd Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. 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Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Fragment of a composite structure https://openvirtualworlds.org/broadlands/files/original/1/343/DSC02682.JPG e79b346f867131c79bb09d588049ebbd Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Groam Gouse Interview https://openvirtualworlds.org/broadlands/files/original/1/342/GeorgeBain-LargeDrawings-51.jpg 20bb6816c655e5fd068c6ad7dcfe0a26 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George Bain Drawing - Rossie Priory Stone. Subject The topic of the resource Class II symbol stone. One of the most impressive Early Christian monuments of south-east Perth, this cross-slab is in the former church of Rossie, which is now the mausoleum of the Kinnaird family. Decorated in relief on both faces, it measures 1.67m in height, 1.16m in width at the base and up to 0.3m in thickness. The front is decorated with a cross in high relief, lacking the left arm; the cross is ringed and has rounded hollow armpits and a central roundel of interlace. The top arm and shaft are decorated with panels of interlace, while the surviving arm bears key pattern. The panels on either side of the head contain, on the left, a beast with a human head and curling tail; on the other side, a beaked figure holding an axe with both hands attacks a claw-footed bird. On the left side of the shaft are carved a beast with its tail curled over its back; a naked man under attack from a beast and a fish-tailed monster; and a pair of confronted beasts, each swallowing a bird. On the right-hand side of the shaft there is a beast swallowing a serpent; below this there is an animal with a bovine head and large eyes. At the bottom of the slab there is a pair of monsters with human heads, the fins of a fish and beast-headed tails, bodies intertwined, facing in opposite directions, one astride the other; their beards and flowing hair are very clearly shown. On the back of the slab, a second cross, set within an interlaced border, is the dominant feature. There is an animal head just below the left arm of the cross where the interlace begins, with the pattern ending in a fish-like tail below the right arm. The almost equal-armed cross has rounded hollow armpits and a central roundel of key pattern and interlace decoration in the arms, which merges into that of the border. The short shaft and its stepped base are outlined by beading and contain figural decoration: three horsemen ranged vertically form a hunting scene with two further horsemen and a pair of hunting dogs on the right-hand side of the shaft. In the spaces above the side-arms of the cross are carved an angel and a figure holding a pair of birds by the necks. Finally, on the left-hand side of the shaft and pedestal there are a crescent and V-rod, a 'Pictish beast', and a kneeling animal looking back at the head which forms the termination of its tail. Creator An entity primarily responsible for making the resource Drawing by George Bain. George Bain https://openvirtualworlds.org/broadlands/files/original/1/341/George_Bain_1881-1968.jpg d4d2176308851a00c2a0d33c08931168 Person An individual. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource George Bain - 1881–1968 Subject The topic of the resource born in Scrabster in the far north of Scotland, was an art teacher who almost single-handedly revived interest in Celtic and Insular art. Description An account of the resource His book Celtic Art: The Methods of Construction was published in 1951. It had little impact at the time, but on its re-issue in 1971 it introduced a generation to Celtic knotwork, the Pictish stones, the Book of Kells and the Book of Durrow. As well as describing and illustrating over 200 historical examples, his book was notable for giving detailed instructions on creating similar interlace, spiral, and trumpet designs, and encouraging their use in craftwork. Bain's monograph inspired the design for the cover of King Crimson's Discipline album; in later releases, it was replaced by a knotwork designed by Steve Ball, which has also been used the logo of Discipline Global Mobile and Guitar Craft, a music company and a musicians' association each founded by King Crimson's Robert Fripp. A Bain design was also used to illustrate a rug manufactured by Quayle and Tranter, a former manufacturer of carpets based in Kidderminster, England. His son Iain, an engineer, later also wrote two books - "Celtic Knotwork" and "Celtic Key Patterns". The majority of Bain's known existing works are curated by the Groam House Museum in Rosemarkie, Scotland. George Bain https://openvirtualworlds.org/broadlands/files/original/1/340/Stones_of_Scotland_1.jpg bbefd912aea350f35dfe625a4d52d1c5 Still Image A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Stones of Scotland. Subject The topic of the resource Book. Description An account of the resource Printed for the Spalding Club. Aberdeen. Date A point or period of time associated with an event in the lifecycle of the resource 1856