List View Category View Search View Latest Artefacts Upload an Artefact Display Artefacts by List Select an alpha category by clicking the appropriate button on the bar below. Initially 'A' has been selected and shows all artefacts found in the database under 'A'. Click on the artefact name to view more details.   Name Description Cairness House Cairness House is considered one of the finest examples of neoclassical architecture in Britain. The house sits four miles south of Fraserburgh in the County of Aberdeenshire, looking across to Mormond Hill. It is the largest and finest country house in Buchan and one of the great houses of Scotland. Cairness was built between 1791 and 1797 to designs by architect James Playfair and replaced an earlier house of 1781 by Robert Burn, which was largely incorporated into the Playfair scheme. Sir John Soane assisted in the final stages of the construction following Playfair’s untimely death in 1794. The park was laid out by Thomas White, a follower of Lancelot 'Capability' Brown. The building shows a strong influence of the French architects Étienne-Louis Boullée and Claude Nicholas Ledoux. The design incorporates a complex mixture of Masonic and pagan symbols as well as many numerological and architectural conceits. It is a calendar house, and its ground plan shows an adjoining “C” and “H”, variously standing for Cairness House and Charles Gordon. Constructed in finely detailed granite ashlar, Cairness House consists of a 110-ft main block, flanked by two raised “bookend” wings. A tetrastyle pedimented Roman Doric porch sits to the centre, its unjointed columns hewn from menhirs taken from a nearby druids' temple (presumably actually a neolithic recumbent stone circle, possibly one that was at Rora about 6 miles to southeast) . A pair of lower pavilions with representations of the Masonic Altar adjoin at the back. From these spans a huge semicircular service wing, with a central bell tower above a lunette arch, enclosing a courtyard at the rear of the house. The centre of the courtyard is dominated by a round ice house modelled on the Temple of the Winds in Athens. The main roof is surmounted by 51 cast iron chimney cans in the shape of fluted Doric columns. Cairness House was commissioned by Charles Gordon of Cairness and Buthlaw and was part of a 9,000-acre estate that included the village of St. Comb’ s and the Loch of Strathbeg, today an important nature reserve. The second laird, Major-General Thomas Gordon (1788-1841), a good friend of Lord Byron, was a hero of the Greek Wars of Independence and wrote a celebrated history of the conflict. The Gordon family sold the estate in 1937 to the Countess of Southesk. After the Second World War, the house was used as a farmhouse and gradually fell into serious decline. The park was destroyed from the early 1950s onwards with the mass clearance of trees in order to reclaim land for agricultural use. In 1991, the house was listed as a Building At Risk by the Scottish Civic Trust. A major long-term restoration programme of the house and grounds was instigated by new owners in 2001. Cairness House now contains a very fine collection of furniture and works of art and is open to the public. Candle Stone A large very phallic standing stone 3.1 m high located just below a low summit, on a slope which shelves gently to the SE. Carers' Garden Mosaics Landscape inspired mosaics in recycled glass and slate. Carnie Memorial Fountain A very simple inscribed slab of polished pink granite, pierced with a spout that presumably once tapped a spring and fed the stone trough below. Erected in memory of John Carnie who volunteered for active service in South Africa (Boer War) and died from fever on 11th May 1900 aged 22. Perfect position on high point of road with view towards Clachnaben. Carron River Falls Predominately a civil engineering project but its aesthetic pretensions may just make it eligible for inclusion. A system of weirs create a man made series of waterfalls with boulder built embankments. Carron Terrace Houses Single storey and attic, 5-bay terraced pair of boldly detailed, late classical houses; No 8 with late 19th to early 20th century single storey, single bay wing. Ashlar. Base and eaves courses. Consoled cornices to doors and to 3 advanced tripartite windows, latter with coupled outer consoles and block pediments rising above eaves. SE (PRINCIPAL) ELEVATION: 5 symmetrical bays, those to right with broad panelled timber door and 2-pane etched glass fanlight flanked by tripartite windows in flanking bays (No 7), further door with 2-pane fanlight in bay to left with tripartite beyond at outer left (No 8). 3 pedimented tripartite dormers above, those to No 7 flanking small rooflight. Further later flat-roofed bay projecting at outer left, incorporating panelled timber door to left, window to right and further window on return to right. 4-pane glazing pattern in timber sash and case windows. Grey slates. Coped ashlar stacks with polygonal cans; ashlar-coped skews with block skewputts. BOUNDARY WALLS AND GATEPIERS: low coped ashlar boundary walls with corniced, square-section gate piers and terminal piers to SE. High rubble boundary walls elsewhere. References: 1st Edition ORDNANCE SURVEY MAP (1867). Information courtesy of owner No 8. Carved Marriage Datestone Listed Category B. Boyndie House 1740, an unusual house with a delicately shaped Dutch-gable, with two round eyes below the chimneys, and carved marriage stone as a shaped cartouche bearing the initials IG MS. Marriage stones appear to have been particularly popular in Banff. It was customary for the sons and daughters of town worthies to have an initialled datestone built into their houses in honour of their union. Carved Stones, Fetternear House Photo 1:Carved sandstone, fragmented, set in the front of Fetternear House which was destroyed by fire in 1919. Text of top fragment Reads abbr, Jesu Maria with a Greek Cross and another symbol, lower fragment shows the letters PEL, M and I, an outline holly leaf and the date1691. Photo 2: Carved sandstone set in the front of Fetternear House shows the Coat of arms of the Count Patrick Leslie 1693. Carved wooden poles, 2 poles carved in a primitive style Castle Street War Memorial Listed Category B. Polished pale grey granite ashlar cenotaph, standing on shallow steps in shallow hemicycle wall Plaques recording the names of the fallen,1914-19 and 1939-45 set in the outer ends of the hemicycle, the chequered granite blocks with voids reveal glimpses of Banff. The foundation stone for the War memorial was laid by HRH Princess Royal, 27th May 1921. Catterline Primary School Playground Shelter A cement shelter shed with corrugated roof, painted with murals on submarine fantasy theme depicting dolphins, seals, a mermaid, octopus, fish and etc.. A mixture of local marine wildlife with exotic and imagined species. Celebration, Colleonard massive wood carving using most of the whole trunk of the tree Changing environment A large granite menhir inscribed "in sun rain sleet or snow" the quarry drill marks left as a feature. The sculpture contains a couple of monocular telescopic lenses that gives the viewer a close-up look of the surrounding countryside and Corgarff castle. Chapel of Garioch stained glass Chancel, window on theme of Sacrifice and Service; donated by Women's Guild, 1931. Shows the crucifixion with virgin and child above flanked by 2 Saints on either side. With smaller panels showing illustrations of biblical stories relevant to the theme. Text reads :"TO THE GLORY OF GOD AND IN MEMORY OF THE MEN AND WOMEN OF THIS CHURCH WHO LOVING THEIR LORD SERVED HIM IN LIFE AND DEATH." Chapel of Garioch war memorial The Chapel of Garioch war memorial stands in the churchyard of the parish church. It commemorates the dead of both World War I & II. It is in the form of a Celtic crosshead of rough hewn granite in the centre of which is a carved wreath. The inscription and names for World War I are on the front of the memorial on a dressed surface. The base is formed of rough dressed boulders into the top of which is set a small block to commemorate the dead of World War II. Christian's house Doorway Arch An ornate decorative cast iron arch supporting a large lantern of orange-red glass, which presumably was once illuminated by an oil or gas lamp. Installed over doorway to a house built in 1712. Used around 1746 by Rev Alexander Grieg for Episcopalian services, when because of support for the Jacobite cause legislation by the (Hanoverian) government prohibited congregations of more than five. In the 1850s the house was home to Peter Christian, solicitor and Sheriff's clerk for Kincardineshire. The Doorway probably originally led through into courtyard area Church of the Immaculate Conception , various architectural decoration, windows and, soup kitchen, The Church of the Immaculate Conception is the last remaining place of worship in Stonehaven's Old Town. It boasts details recognised as deriving from Notre-Dame-le-Grand, Poitiers and Chartres and despite the loss of some original glazing is nevertheless an important quiet place on its island site surrounded by roads and behind the High Street. The building date varies from 1875 to 1879 depending upon the source, but it is a certainty that funds for this fine church and the nearby Rickarton Cottages were provided by Mrs Eliza Maria Hepburn of Rickarton, as a memorial to her daughter. A sketch in Christie's 'Haven Under The Hill', entitled 'Church of St Mary' shows decorative ridge detail and a ship weathervane, neither of which are evident today (2004). He also mentions an American organ which was installed in April 1880. The priest´s house is located at the nearby (separately listed) Rickarton Cottages and is accessible from the church grounds. The nearby soup kitchen was presented to the church by George Blackie in 1905. GENERAL: Architect J. Russell Mackenzie, 1877. Small, elaborately-detailed gothic church with 3-bay aisles nave, traceried and arcaded front, shallow gabled transepts, semicircular apse, polygonal baptistery and 4-stage buttressed tower with belfry and octagonal pinnacled spire. Coursed, squared and snecked rubble with ashlar dressings. Deep base and eaves courses. Traceried circular openings, cusped lancets. 2-stage, sawtooth-coped and pinnacled buttresses. Voussoirs; chamfered reveals and raked cills. Timber doors with decorative ironwork. GLASS: Coloured glass to NE traceried window depicting St Margarita (St Margaret Queen of Scotland, Saint Margaret (c. 1045 – 16 November 1093, canonised in 1251 by Pope Innocent IV); leaded diamond pattern glazing to apse and baptistry; some openings reglazed; figurative coloured glass lancet to SE transept (see Interior). Grey slates. Ashlar-coped skews. Cast-iron downpipes with polygonal rainwater hoppers. INTERIOR: fine plain interior with moulded cornice, hammerbeam roof and decorative timber braces, timber pews and boarded dadoes; transept with double arch springing from low column with moulded capital. Apsidal chancel with elegant braced timber roof on stone corbels. Lancet to SE transept 'Come Holy Spirit' by Edinburgh Stained Glass House, 2003. SOUP KITCHEN: Single storey, slated, rubble cottage known as 'soup kitchen'.The Soup Kitchen is now used as a meeting room. Work began on the Kitchen on 24th December 1904 on three days weekly, and closed on 18th March 1905. The Kitchen was used in the 1940s but is thought to have ceased work in 1946. The building was then used for various purposes, and the Mearns Leader reported a visit by an interested townsperson in 1983 to the wood store. Clunie Street School Bellcote Former school, dated 1804 with ball- finialled apex bellcote which crowns the gable of the building. Datestone bears the inscription 'FREE SCHOOL Endowed by Alexander Pirie,1805'. Clyne grave 18th century grave slab St Drostans kirk Aberdour A nicely carved 18th century grave slab with classic memento mori symbols in a slightly more sophisticated style than some examples. Coast Festival, A large wooden sculpture of a Phoenix was burned to reveal a small metal phoenix. Coast Festival, benches installation As part of the first Coast Festival (23rd-26th May 2008 ). One of three commissioned temporary public art works. A series of 5 separate installations of digitally printed banners each was a trompe l'oeil image of a bench in place where one might have been the background to match the wall. On each bench was a montage of objects on closer inspection one can see the distortion of scale used in these objects. For instance while the herring gull is life size, the abandoned plastic carrier bag it looks as though it is going to scavenge from is full of tiny street lights and other street furniture. A comment is made on the surrounding landscape which a person sitting on the illusory bench might survey and inhabit, an interesting contrast between the objects that give our places unique character and those such as road signs and street lights that tend to homogenise the environment. Coast Festival, Helen Denerley sculpture park. As part of the first Coast Festival (23rd-26th May 2008 ). The artist kindly loaned a number of her animalier works. While many artists world wide produce sculptures of animals using the technique of welded assemblage Helen's pieces are outstanding in her apprehension of both the basic anatomy and the movement and expression of each species. She is also careful not to completely lose the original identity of the materials used in the works construction. The nature of the scrap used often add considerably to the numinous qualities of the finished piece. In my personal view the best of her works are those pieces that evoke rural Scotland (deer, sheep, horses, hunting dogs, native birds etc.) given extra poignancy by being made of the detritus of the rural economy of the recent past. Coast Festival, installation at Macduff Pier As part of the first Coast Festival (23rd-26th May2008 ). One of three commissioned temporary public art works. It consisted of 5 uprights in polished steel. These created a complex visual environment of reflections, shadows and reflected light beams. Constantly changing in accordance with the light and the viewers position. Coast Festival, sculptures by Rob Mulholland For COAST 2009 Rob created an installation of figures standing in the grounds of Banff Castle looking down toward the bay, with a lone figure down by the sea wall at Greenbanks pointing out to sea.This installation is a play on the seafaring traditions of Banff and Macduff, with the townsfolk looking out in search of the returning fleet and the distinct relationship that fishing families have with the sea. The figures have been cut in mild steel and riveted together to resemble the plate used in fishing boats; this choice and use of materials creates a resonance with our community and visitors alike. Coast Festival, video piece As part of the first Coast Festival (23rd-26th May 2008 ). One of three commissioned temporary public art works. A screen based piece using images and recollections from local residents, specifically about Tarlair Lido but also Banff and Macduff in general. You will notice many artefacts illustrated in this database in the stills shown here. A large part of the artist's creative contribution rests on his custom written 'slipstream' computer programme used to display the images and audio elements in continuously changing combinations. Coat of arms Gardenstown public hall A very deteriorated primitive hand painted coat of arms and sign. Coldwells Sign A wonderful cut steel sign of a Clydesdale Horse in working harness, the harness detail suggests a working horseman's intimate knowledge, this plus the style and overall condition suggest it is of considerable age. Colleonard Sculpture Garden and Gallery This was a five and a half acre garden in a sylvan setting; the garden contains some fine specimens of mature copper beech and Colombian pine. On a walk through the garden, past visitors could view 14 monumental sculptures - some as much as 25 feet in height. Frank Bruce, the sculptor, has perfected his own style, which he calls, "archetypal abstractionism". His monumental works maintain and prove the figurative sculpture can and should be easily understood. Compass Rose A pavement set into the grass of the links showing a compass rose. Continuum A granite, glass and copper sculpture in the form of a column. Corsearder, Corsedarder or Corsedardar Stone A squarish block of reddish granite, about 4'7" in maximum height and 7' in girth, which was dug up many years before 1842 and was erected on top of the hill of Corsedardar, in the belief that it had marked the grave of some eminent person. The stone has been split, and now has the two portions set into a bed of concrete and pieced together by strong iron bands. Tradition says that it marks the spot where Dardanus, a Pictish king, was killed. A stone, 1.5m high, 0.8m wide, and 0.2m thick, generally as described, and possibly a cist slab. Visited by OS (R L) 12 June 1972. from RCAHMS Corsedardar Long Cairn Remains of cairn; a curving scarp in the E probably represents the edge of the cairn in this quadrant; otherwise all that can be seen is turf-covered debris, insufficient to estimate the size and shape of the cairn. Part of it was dug into in c1860 when human remains and several silver coins were found. Cothiemuir Stone Circle Also known as Devil's Hoofmarks, from some probable cup marks on the outer face of the recumbent The circle stones are of red granite. The huge basalt recumbent is 4.2m long and it weighs more than 20 tons. The two flankers are 2.7m and 2.9m high with rectangular and triangular cross-sections. Imposing despite most of the east side being destroyed. Another RSC Old Keig, is 1.5 miles away to the West. Cowie Chapel Child's Memorial Book Example of a memorial in the popular book form, this one dated 1894 is in a permeable stone and has suffered badly from shell erosion over the years, it is in memory of a 4 years and 6 month old John Leiper. Who died on the 7th July 1894 Cowie Chapel farmers's tombs Three examples of late 18th century headstones to tenant farmers and their families marked with the ploughshare and coulter symbol. The inscriptions also give the farm names. Cowie Chapel Gardner tomb Another early 20th century Celtic revival cross. This one is in grey granite and has some very nicely carved interlace panels, it commemorates burials various members of the Gardner family from 1908 -1965 Cowie Chapel George Ironside tomb Upright grave slab with Celtic cross with interlocking knotwork in high relief with a carving of a chalice in the centre of the cross. It is inscribed in Latin: Georgius Ironside ecci: Scot: Sacerdos - In Xto. Obdormivit iiij Non. Oct MDCCCLXI Det Illi Dominus (the rest is obscured) Cowie Chapel Headstone with Finger Pointing Up Lees family headstone of Gothic arch shape decorated with a hand pointing to heaven and flower scroll and cordage motifs. Cowie Chapel lifeboat memorial Grey granite memorial surmounted by a simple latin cross and carved in relief with a lifeboat, the inscription reads: Erected by public subscription to the memories of four of the crew of the Stonehaven life-boat "St George" Viz:- James Leiper, coxswain, John Brown, assistant coxswain, Alexander Main and James Lees, who were drowned while endeavouring to enter Aberdeen Harbour, after an attempt to render assistance to the "Grace Darling" of Blyth on 27th February 1874 --- James Leiper, is interred in Belhelvie Churchyard, Alexander Main in Nigg Churchyard, John Brown and James Lees are buried here. Cowie Chapel Masonic headstone This stone, dated 1793, shows the Masonic symbols of sun, moon, star, set square and compasses, trowel, chisel on ashlar, level, plumb rule, mell, set square and gavel. Cowie Chapel seamen's tombs A variety of 18th and 19th century tombstones, adorned with ships and anchors, in memory of seamen and fishermen many of whom lost their lives at sea and often their wives and children. Some also bear memento mori symbols such as the hourglass. Most of the boats illustrated are open fishing boats but the fourth photograph shows a sarcophagus style tomb with a relief carving of a 3 masted ship in full sail. The top photograph showing a stone to David Adams also commemorates his seven children but has a blank where the inscription to his spouse was intended as does the related 'blacksmith's stone'. It is sad to think of that the likeliest explanation is that outliving their husbands and children these women had no survivors to order or pay for the inscriptions. Cowie Chapel winged hourglass headstone This unusual memento mori symbol of a winged hourglass may be seen on this badly eroded 18th century stone within the ruined chapel. Cowie Chapel, 18th century blacksmith's headstone Stone with the blacksmiths' crown and hammer symbol, the stone is inscribed: "in memory of James Forrest late blacksmith in Stonehaven who died January 14 1779 aged 71 years" then there is a gap presumably intended for an inscription to his wife that has not been done, followed by: "and also of their children Margaret and Jean who died in infancy. As with the similar blank on the stone of the seaman David Adams it is sad to think of that the likeliest explanation is that outliving their husbands and children these women had no survivors to order or pay for the inscriptions. Cowie Chapel, 18th century shoemaker's headstone 18th century stone dedicated to John Davidson shoemaker with the crown and last trade symbol of the shoemaker, Cowie Chapel, Hassell tomb A grandiose Celtic revival cross with angelic figures in pink granite inscribed: In memory of Susan Constance Hassell widow of William Hassell of Bristol died August 4th 1906. "There shall be no night there". Cowie Chapel, St. Mary's of the Storms, Cowie Kirkyard The old kirk now stands as a consolidated ruin, originally dedicated to St. Nechtan, or St. Nathlan, though it was rededicated to St. Mary in 1276. It was never a parish kirk and was suppressed by the kirk session in the 1560s. The kirk was lengthened at the W. end during renovations in the 15th - century, though the remainder of the kirk is said to be 13th – century in date. Restoration work was carried out in 1870 and it is probable that the lintel to the arched opening in the S. elevation dates from that time. The E. and W. gables remain, the former composed of three lancet windows, very thin in proportion, broadly spaced and having carved sandstone head terminals. The gable wall is extremely deep with the windows having a remarkably broad internal splay. The W. gable features a large square window opening.The mort-house or arched vault was built in 1842 though the W. end of the kirk extends over this arch making it impossible to see how the vault was entered. The granite side and grassed roof of the vault appear to be in good order. Tombstones : There are approximately 20 recumbent tombstones of which 4 are significantly well-decorated. There are many hundreds of upright tombstones contained within the kirkyard that is itself located on two levels. The kirkyard is approximately oval in shape and is situated on the cliffs with commanding views over the North Sea. The bottom photograph shows the wrought iron 'kissing gate'. Cowie Mill, decorations Original Mill; was 18th-19thC; remodelled 1920 a 2-storey and attic 11 bay main block, with a 3-storey block and a large pyramidal-roofed kiln at rear. The kiln vent is hexagonal, with revolving cap. The central low breast wheel has been removed and the lade destroyed; was recently derelict, though workings part remained. Then was converted in the late 1990's into flats. Various old wheels and gears have been used to 'decorate' the grounds as well as the pig on the kiln vent. Crathes Castle, sundial, heraldic panels, weather vanes, doocot etc. Crathes is particularly known for its ceiling paintings. Photography is not allowed in the castle but there are excellent photographs in the RCAHMS "canmore" database see: http://canmore.rcahms.gov.uk/en/site/36693/digital_images/crathes+castle/ . Castle; an L-plan tower-house built in the mid-16thC with a later projecting wing. It is built of granite with rounded angles and rises to four storeys and an attic. The lower storeys are plain but above the first-floor level there is a profusion of corbelling, stringcourse, angle- and stair-turrets, heraldic decoration, gargoyles, and gabling which are unique to Scottish castellated architecture. The entrance, in the re-entrant angle is protected by an iron yett. The interior is famed for its plaster & magnificent wooden painted ceilings. The castle was built for the Burnetts of Leys who received the charter for the land from Robert the Bruce in 1323. Within the castle is a jewelled ivory horn, the Horn of Leys, which is said to have been presented to Alexander Burnett by the Bruce when he received the charter. The castle came into the hands of the National Trust for Scotland in 1951. SMR Crathes Castle NO 735 966 doocot doocot Small square, rubble, with forestair and slated pyramidal roof. Probably early 19th century. Rebuilt on present site 1935. Inset stone from Houses of Parliament. LBR The sundial has an interesting decoration of 4 grotesque portrait masks but I can find no record of its date or creator. Cross and datestone Sandyhill Road Banff Carved stone cross with the date 1864 set low in a retaining wall. Crovie Sculpture Large ash wood carving 12 foot high, with metal elements. The artist's title is "Scottish Athena" - Athena being the ancient Greek - "Goddess of wisdom, practical skills and prudent Warfare" hence the metal head piece. "I called her that because of the prudent warfare bit because of Crovie being the place where people went during the clearing of the highlands - I thought she could be a protector therefore up on that cliff top ready with her helmet piece. The steel eyes were to reflect the sky or sunset etc to give that timeless expression. Also because in another definition she was termed patron of the arts and the piece was done as part of a Thankyou to the companies who had donated or supported the Scottish Sculpture Workshop at Lumsden." Crovie, donations barrel Collection barrel soliciting donations from the preservation society, that is itself in need of preservation, if you look closely has already been repaired by adding stainless steel straps the original steel rings having rusted away. Crudie war memorial It commemorates the dead from both World War I & II. It is a low squat memorial built of random rubble with the memorial plaque to World War I inset on the front, and the later World War II memorial added to the side. The top is also of random rubble. Culblean Memorial A modern stone menhir with bronze plaque commemorating a 14th century battle. Cullerlie Stone Circle In a fairly low-lying location, this circle consists of 8 rough boulders set in a circle 10.1 m in diameter. The circle contains eight small cairns, that showed signs of cremations, in some of the cairns were found burnt bone, charcoal, flint tools and a fragment of pottery. Culsh Monument the 80ft (24m) Culsh Monument, erected 1876 in memory of William Fordyce MP of Brucklay , Aberdeenshire's first MP. Viewing platforms are provided at the base, and at the top of the spiral staircase within the tower. On a clear day the distant Caithness Hills can be seen to the north, Ben Rinnes at Dufftown in the west, the Grampian Mountains to the south and Peterhead to the east. Culsh Monument Viewpoint A sculptural granite, viewing and orientation point, located next to a steepled tower built as a memorial. Culsh souterrain or earth house. Souterrains are a type of iron-age architecture that seems to have been fairly common in the area that is now Aberdeenshire, the most common assumption is that they were used for storage of grain and other food-stuffs. Souterrain curved and lined with dry stone walls (the walls have been mortared in modern times) and heavy roof slabs. Accessible but the visitor will require a torch to explore the few metres of passageway inside. Various authorities report 1 or 2 possible cupmarks on left wall (cupmarks are usually thought to have been created in earlier periods, their occurrence in iron age and later artefacts could be taken as an indication of some special respect for these older interventions). The 19th century excavation finds were reported by A Jervise 1865, as the floor being littered with ashes, 2 querns, some unglazed pottery shards, cattle bones and a large bead. Cupola, Weather Vane, etc. Extravagant Neo-Jacobean, tall gabled hospital with timber arcaded cupola with faceted lead roof and weathervane, 1860. Alexander Chalmers of Clunie (Marnoch, Banffshire) wine Merchant and ship owner in Banff left 'the site of his residence' and a bequest of £70,000 to build and endow the hospital.