Friday 31 October 2008

Ferguson collection, Scottish witches illustrations




Part of my Halloween series.
John Ferguson (1837-1916), Regius Professor of Chemistry in the University of Glasgow from 1874-1915, is best remembered for his Bibliotheca chemica, Glasgow, 1906, which is a standard tool for every investigation in the history and bibliography of chemistry. Ferguson was a keen book collector and in 1921 an important section of his private library was bought by the University of Glasgow. This consisted of over 7000 books and some 300 manuscripts. Most of the books in the Ferguson collection are on chemistry and alchemy, but there are important smaller groups of books, such as those on
magic and witchcraft,gypsies, astrology,
Rosicrucians and Cabbalism.

HALLOWEEN; SCOTLANDS WITCHES

Part of the Halloween series.


The Scotsman 03/03/2008

Scotland's last witch:

Fraud or innocent victim of witch hunt?

Published Date: 03 March 2008

 

By Karin Goodwin

 

TO HER supporters she was a hard-working housewife and mother whose ability to communicate with the spiritual world saw her persecuted and wrongly imprisoned.

But now a Scottish peer has branded Helen Duncan – known as Scotland's last witch – a fraudster, who should not be given the pardon campaigners are seeking.

Ms Duncan, born in Callander, was jailed for nine months after being found guilty under the 1735 Witchcraft Act in 1944. She claimed that, at a seance in Portsmouth, a dead sailor told her of the sinking of the battleship HMS Barham. The information had not yet been released by the war office.

Her supporters lodged a petition with the Scottish Parliament last week, and are hoping she will be pardoned. An appeal to Westminster failed last year.

However, Lord Moncreiff of Kinross has called for the petition to be rejected, claiming figures that show she made £112 – worth almost £3,000 today – in less than a week prove she preyed on the vulnerable.

"I have to question why she made so much money from bereaved relatives," he said. "The ethics of that ring alarm bells."

Neither was she "branded a witch" by the court, he said, but was instead tried for earning money through fraudulent means.

"If the parliament accept this petition, they must also accept that Helen Duncan was genuinely able to communicate with the spirit world," he added. "That would be a great step back."
However, Ms Duncan's family say she was targeted because she revealed sensitive war secrets.
Ewan Irvine, a medium from Full Moon Investigations, which lodged the petition, disputes Lord Moncreiff's claims.
"She was an elderly Scottish housewife who made use of her extraordinary gifts," he said.

"I'm hopeful that the parliament will recognise that but if they don't we won't give up."


 

 

Scottish Witchcraft


 

This is one area where Scotland has nothing to be proud of, Scotland was second only to Germany in the torture, barbarity and number of its witch trials. Far more witches were tried and condemned per head of population in Scotland than in England, it could be as many as 4,500 witches being executed overall. Unlike the practice in England, Scotland followed the continental, inquisitorial model, a confession was not necessary before conviction and execution. General reputation as a witch was considered sufficient proof for an conviction. Once an indictment was drawn, the accused could not dispute its accuracy!

 

Execution also followed the continental form with witches commonly being burnt and the costs of the trial and execution being borne by the condemned persons family

Belief in witchcraft continued in Scotland into the 18th century. In 1727 Janet Horne was the last person to be tried and burned at Dornoch, Ross Shire, Scotland for having used her daughter as a flying horse, the devil shoeing her so that she was permanently lamed. The Act against witchcraft was repealed in 1736, though the Presbyterian Church was to still state a belief in the practice through one of its resolutions as late as 1773.

 

Dornoch in the 18th century

 

1727 saw the last judicial execution of a person charged with witchcraft in Scotland. Janet Horne was the last person in Scotland to be tried and executed for witchcraft. In 1727 she and her daughter were arrested and jailed in Dornoch, Scotland. According to her neighbours who had reported her, her crimes were devilish’ and she was accused of turning her daughter into a pony, and of getting the pony shod by Satan himself and thus solving her families transport problems. It’s now believed that at the time of her execution Janet Horne was showing signs of dementia. Her daughter had a genetic deformity of the hands and feet, proof in her neighbours’ eyes that this was a result of the daughter being turned into a pony and shod. The daughter later passed this strange ‘condition’ on to her own child. The trial was rushed and no more than a formality. Captain David Ross, sheriff-depute of Sutherland, found both women guilty and ordered them to be burned to death the following day. The younger woman escaped but Janet was clearly very confused. She was stripped, covered in tar and paraded through Dornoch in a barrel. When she arrived at her execution place, Janet is said to have smiled and warmed herself at the very fire which was about to consume her.

Her last words were "It's a bonnie fire" as she warmed her hands at the barrel!

 

Her innocence was proved ( if it were necessary )  several years later when her granddaughter was born with the same genetic deformity to her hands and feet. 

 

The stone that marks the site of Janet Horne’s burning can still be seen in Littletown, although the date on the stone – 1722 – is wrong, it should read 1727. Nine years after her death the Witchcraft Acts were repealed in Scotland and England and it became unlawful to execute anyone for alleged witchcraft.

 

Ferguson collection

 

An exhibition of books relating to the history of witchcraft and demonology, drawn mainly from the Ferguson collection

 

John Ferguson (1837-1916), Regius Professor of Chemistry in the University of Glasgow from 1874-1915, is best remembered for his Bibliotheca chemica, Glasgow, 1906, which is a standard tool for every investigation in the history and bibliography of chemistry. Ferguson was a keen book collector and in 1921 an important section of his private library was bought by the University of Glasgow. This consisted of over 7000 books and some 300 manuscripts. Most of the books in the Ferguson collection are on chemistry and alchemy, but there are important smaller groups of books, such as those on

magic and witchcraft,gypsies, astrology,

Rosicrucians and Cabbalism.

These woodcuts are here

http://forgetmenot525.multiply.com/photos/album/200/Ferguson_collection_Scottish_witches_illustrations


 

 

Wednesday 29 October 2008

Halloween Culture, Ballet, Shakespear and a movie

As Part of my Halloween series I thought we could enjoy a little seasonal culture.

 

We have a little Ballet, I tried very hard to get ‘Swan Lake Odile Variation Marina Rzhannikova (Black Swan)’ but every one of those videos had the code disabled and so… we have this ‘Semionova and Zakharova in Swan Lake

 

Followed by the most famous three witches ;

Shakespeare's "Macbeth"

 

And how could I leave out the most romantic ghost in the history of film?;

Ghost (1990) - Timeless Classic


Opera Un Ballo in Maschera (A Masked Ball), by Giuseppe Verdi

Part of the Halloween series


I have been looking for a suitable piece featuring a witch and came up with this. The synopsis of this opera is taken from the web site below and the video clip was found on youtube.

 

http://www.evermore.com/

 

 

Opera Un Ballo in Maschera (A Masked Ball) Synopsis

Opera in three acts
by Giuseppe Verdi

First performed
February 17, 1859
Rome

 

Act I

A hall inside the Louisiana Governor's mansion

Riccardo, Governor of Louisiana, is giving an audience to officials. Among those present are Samuel and Tom, who are plotting to kill him. Riccardo receives a list of those invited to the next grand masked ball. He is overjoyed to see the name of his beloved Amelia, wife of his faithful secretary Renato, on the guest list. Renato warns Riccardo that there are those who plot his downfall. A judge arrives with an order for the expulsion of the black woman Ulrica, who is accused of witchcraft. Oscar, the page, defends her so Riccardo, who would like to know the truth, goes to visit her in disguise.

When they arrive at the witch's hovel, Ulrica is predicting honour and riches to a young sailor named Silvano. Riccardo fulfills the prophecy by slipping a note into Silvano's pocketthus proving the witches guilt. A servant tells Ulrica quietly that Amelia is on her way and Ulrica asks everyone to leave so that she can welcome the girl alone. Amelia asks for a cure for the love she has for Riccardo. Ulrica says she could make such a potion from a herb that grows in a graveyard near a local gallows, but that it must be picked at midnight. Riccardo has overheard and swears that Amelia will not go alone to the graveyard and he will use the opportunity to tell her of his love.

Riccardo approaches Ulrica as a mariner in search of his fortune. Ulrica predicts that he will be murdered by the next person who takes his hand. Riccardo makes light of the prophesy, offering to shake everyone's hand, which the crowd declines. Renato bursts in and shakes Riccardo's hand, unaware of the prophesy. All join in a chorus proclaiming the mysteries of fate.

act II

Near the gallows, midnight

Amelia, heavily veiled, has come to the graveyard near the scaffold where the herb grows. Riccardo finds her and they declare their mutual love and sadness. Renato, aware that the conspirators are on Riccardo's trail, suddenly appears and tells Riccardo that the conspirators are nearby, waiting to murder him. Riccardo refuses to escape, but eventually consents provided that Renato give protection to the veiled lady (Amelia) without making any attempt to learn her identity. Renato and the veiled Amelia leave. The conspirators happen upon Renato and Amelia on the road and, during the exchange, tear the veil off Amelia. Renato, in despair and anger at Riccardo's betrayal, makes an appointment to meet with the conspirators the next day at his home.

 

 

Act III

Scene 1
A room at the home of Renato and Amelia

In a terrible fury, Renato bids Amelia to prepare for death. Swearing that she is innocent, she begs to kiss their little son farewell. Renato yields to his wife's pleas and reserves all of his anger for Riccardo. The conspirators arrive and they draw lots to decide who will kill Riccardo. Amelia picks the fatal paper on which Renato's name is written. Oscar arrives, bringing the invitation to the ball.

Scene 2
The governor's mansion

Riccardo has decided to send Renato and Amelia on a foreign mission. Amelia enters and tries to convince him of the danger in store for him at the ball. Riccardo is determined to attend the ball anyway. Meanwhile, Renato discovers from Oscar what costume Riccardo will be wearing. Riccardo and Amelia sing a farewell duet and Renato kills Riccardo during the ball. Amelia tells Renato that their love was never consummated and that Riccardo had promoted him and commissioned him to England. With his last breath, Riccardo pardons Renato and dies.

 

Mariana Pentcheva - Un Ballo in Maschera - Witch's Scene

 

 

 

Henry Fuseli, supernatural art

Henry Fuseli

Part of the halloween series

        Henry Fuseli was born at Zürich in Switzerland on February 7, 1741, dies, April 16, 1825;  His father was Johann Caspar Füssli, a painter of portraits and landscapes.

Fuseli was forced to leave Zurich because he was involved in exposing an unjust magistrate and it became unsafe for him to continue living in his home.  He travelled through Germany, and England, where he supported himself by becoming a semi-professional writer. After a while living in London he met Sir Joshua Reynolds and began showing Sir Joshua his many drawings and sketches. On Sir Joshua's advice he began devoting himself to art and worked toward becoming a full time professional painter. In 1770 he visited Italy and remained there until 1778. He even changed his name from Füssli to Fuseli, because it was more Italian-sounding. In 1779 he returned to Britain, visiting Zürich on his way. He found a commission awaiting him from Alderman Boydell, who was then organizing his famous Shakespeare gallery. He also gave William Cowper some valuable assistance in preparing a translation of Homer. In 1788 Fuseli married Sophia Rawlins (originally one of his models), and soon after became an associate of the Royal Academy. Two years later he was promoted to Academician.

In 1799 Fuseli exhibited a series of paintings of the works of John Milton. He planned to form a Milton gallery run along similar lines to Boydell's Shakespeare gallery. He did a total of 47 Milton paintings, many of them very large, taking over 9 years to complete all of them. In 1805 he brought out an edition of Pilkington's Lives of the Painters, which was not that well received by his critics. During his lifetime he produced many works depicting the darker side of human nature and it is these ‘dark’ paintings he is most remembered for today. Fuseli, after a life of uninterrupted good health, died at Putney Hill on April 16, 1825, and was buried in the crypt of St Paul's Cathedral. He was comparatively rich at his death.

 

As his subject matter Fuseli favoured the supernatural. His paintings have a ’supernatural’ quality to them partly due to the combination of ‘unreal’ subject and very realistic technique. His paintings tended to be large, domineering canvases and his painting technique was often experimental. Much of his painting is the result of ‘happy accidents’. He was in the habit of applying almost dry paint/pigment to his brush and then mixing, on his brush, it with oil or turpentine immediately before applying it to the canvas. His talent as a draughtsman allowed his to use these experimental paint effects on top of technically perfect drawings. His work achieves such spectacular effect by combinations of the orthodox and unorthodox.  He combined good quality drawing and unorthodox paint methods, he combined supernatural subject matter with total realism, it was this combination of opposites that left his work with something very special.


More paintings and full size painting found here

http://forgetmenot525.multiply.com/photos/album/199/Henry_Fuseli_paintings_illustrations


 

 

The Nightmare (1782)       

 

Lady Macbeth (1784)

 

The Shepherd's Dream (1793)

 

 

The Three Witches (1783)

 

Thor battering the Midgard Serpent (1790)

 

Titania and the Fairies (1793)

 

 

The Night-Hag Visiting Lapland Witches (1796)

 

 

Macbeth consulting the Vision of the Armed Head (1794)    

 

Oedipus Cursing His Son (1786)

 

 

The Dream of Eve (1804)  

 

An Old Man Murdered by Three Younger Men (1770)

Poetry Wednesday; Tam O' Shanter, poetry by Rabbie Burns


 

Part of the Halloween series

Tam O' Shanter

A Tale by Rabbie Burns

Written in 1790


With original illustrations by

 

 John Faed (1820- 1902)

 

First published in 1892 Title:

Tam O'Shanter and the Witches

Illustration to the poem of Robert Burns

 

Tam o'Shanter

 

Onw of Burns' best-loved tales is the story of a farmer from Maidens who, against  his wife's good advice, gets into trouble as a result of his fondness for drink and an eye for the lasses. (no change there then . The poem is a favourite feature of Burns Suppers across the world and many Scottish pubs will give a free dram or two to anyone who can give a good recitation, start to finish, a good recital means in a good rendering of the old dialect  The story, which was inspired by the local tales Burns heard as a boy, is set in Ayr and Alloway, iand reaches its scary but comic climax at the old Brig o'Doon. Burns based its characters on his own friends and characters he knew from the local taverns. In her memoir of Burns, his wife, Jean Armour, recalls watching him laughing as he walked along the banks of the River Nith, gesturing wildly and composing the poem out loud. Perhaps more than any other of his poems, Tam o'Shanter captures the spirit of poetry that was first awakened in the young Robert Burns, sitting around the fire in Burns Cottage and listening to the ghost stories of old Betty Davidson.

 

The late medieval Brig O’Doon was chosen by Burns for the climax of his tale, Tam O’Shanter. It spans  the beautiful river Doon, the auld brig (old bridge) gives visitors a chance to walk on the very spot where Tam’s mare, Meg, made her last heroic leap for freedom - leaving her tail still in the clutches of Nan, the “Cutty Sark” witch.

 

 

 

    "Of Brownyis and of Bogillis full is this Buke."

    Gawin Douglas.

 

    When chapman billies leave the street,

    And drouthy neibors, neibors, meet;

    As market days are wearing late,

    And folk begin to tak the gate,

    While we sit bousing at the nappy,

    An' getting fou and unco happy,

    We think na on the lang Scots miles,

    The mosses, waters, slaps and stiles,

    That lie between us and our hame,

    Where sits our sulky, sullen dame,

    Gathering her brows like gathering storm,

    Nursing her wrath to keep it warm.

 

    This truth fand honest Tam o' Shanter,

    As he frae Ayr ae night did canter:

    (Auld Ayr, wham ne'er a town surpasses,

    For honest men and bonie lasses).

 

    O Tam! had'st thou but been sae wise,

    As taen thy ain wife Kate's advice!

    She tauld thee weel thou was a skellum,

    A blethering, blustering, drunken blellum;

    That frae November till October,

    Ae market-day thou was na sober;

    That ilka melder wi' the Miller,

    Thou sat as lang as thou had siller;

    That ev'ry naig was ca'd a shoe on

    The Smith and thee gat roarin' fou on;

    That at the Lord's house, ev'n on Sunday,

    Thou drank wi' Kirkton Jean till Monday,

    She prophesied that late or soon,

    Thou wad be found, deep drown'd in Doon,

    Or catch'd wi' warlocks in the mirk,

    By Alloway's auld, haunted kirk.

 

    Ah, gentle dames! it gars me greet,

    To think how mony counsels sweet,

    How mony lengthen'd, sage advices,

    The husband frae the wife despises!

 

    But to our tale: Ae market night,

    Tam had got planted unco right,

    Fast by an ingle, bleezing finely,

    Wi reaming sAats, that drank divinely;

    And at his elbow, Souter Johnie,

    His ancient, trusty, drougthy crony:

    Tam lo'ed him like a very brither;

    They had been fou for weeks thegither.

    The night drave on wi' sangs an' clatter;

    And aye the ale was growing better:

    The Landlady and Tam grew gracious,

    Wi' favours secret, sweet, and precious:

    The Souter tauld his queerest stories;

    The Landlord's laugh was ready chorus:

    The storm without might rair and rustle,

    Tam did na mind the storm a whistle.

 

    Care, mad to see a man sae happy,

    E'en drown'd himsel amang the nappy.

    As bees flee hame wi' lades o' treasure,

    The minutes wing'd their way wi' pleasure:

    Kings may be blest, but Tam was glorious,

    O'er a' the ills o' life victorious!

 

    But pleasures are like poppies spread,

    You seize the flow'r, its bloom is shed;

    Or like the snow falls in the river,

    A moment white-then melts for ever;

    Or like the Borealis race,

    That flit ere you can point their place;

    Or like the Rainbow's lovely form

    Evanishing amid the storm. -

    Nae man can tether Time nor Tide,

    The hour approaches Tam maun ride;

    That hour, o' night's black arch the key-stane,

    That dreary hour he mounts his beast in;

    And sic a night he taks the road in,

    As ne'er poor sinner was abroad in.

 

    The wind blew as 'twad blawn its last;

    The rattling showers rose on the blast;

    The speedy gleams the darkness swallow'd;

    Loud, deep, and lang, the thunder bellow'd:

    That night, a child might understand,

    The deil had business on his hand.

 

    Weel-mounted on his grey mare, Meg,

    A better never lifted leg,

    Tam skelpit on thro' dub and mire,

    Despising wind, and rain, and fire;

    Whiles holding fast his gude blue bonnet,

    Whiles crooning o'er some auld Scots sonnet,

    Whiles glow'rin round wi' prudent cares,

    Lest bogles catch him unawares;

    Kirk-Alloway was drawing nigh,

    Where ghaists and houlets nightly cry.

 

    By this time he was cross the ford,

    Where in the snaw the chapman smoor'd;

    And past the birks and meikle stane,

    Where drunken Charlie brak's neck-bane;

    And thro' the whins, and by the cairn,

    Where hunters fand the murder'd bairn;

    And near the thorn, aboon the well,

    Where Mungo's mither hang'd hersel'.

    Before him Doon pours all his floods,

    The doubling storm roars thro' the woods,

    The lightnings flash from pole to pole,

    Near and more near the thunders roll,

    When, glimmering thro' the groaning trees,

    Kirk-Alloway seem'd in a bleeze,

    Thro' ilka bore the beams were glancing,

    And loud resounded mirth and dancing.

    Inspiring bold John Barleycorn!

    What dangers thou canst make us scorn!

    Wi' tippenny, we fear nae evil;

    Wi' usquabae, we'll face the devil!

    The swats sae ream'd in Tammie's noddle,

    Fair play, he car'd na deils a boddle,

    But Maggie stood, right sair astonish'd,

    Till, by the heel and hand admonish'd,

    She ventur'd forward on the light;

    And, wow! Tam saw an unco sight!

 

    Warlocks and witches in a dance:

    Nae cotillon, brent new frae France,

    But hornpipes, jigs, strathspeys, and reels,

    Put life and mettle in their heels.

    A winnock-bunker in the east,

    There sat auld Nick, in shape o' beast;

    A towzie tyke, black, grim, and large,

    To gie them music was his charge:

    He screw'd the pipes and gart them skirl,

    Till roof and rafters a' did dirl. -

    Coffins stood round, like open presses,

    That shaw'd the Dead in their last dresses;

    And (by some devilish cantraip sleight)

    Each in its cauld hand held a light.

    By which heroic Tam was able

    To note upon the haly table,

    A murderer's banes, in gibbet-airns;

    Twa span-lang, wee, unchristened bairns;

    A thief, new-cutted frae a rape,

    Wi' his last gasp his gabudid gape;

    Five tomahawks, wi' blude red-rusted:

    Five scimitars, wi' murder crusted;

    A garter which a babe had strangled:

    A knife, a father's throat had mangled.

    Whom his ain son of life bereft,

    The grey-hairs yet stack to the heft;

    Wi' mair of horrible and awfu',

    Which even to name wad be unlawfu'.

    Three lawyers tongues, turned inside oot,

    Wi' lies, seamed like a beggars clout,

    Three priests hearts, rotten, black as muck,

    Lay stinkin, vile in every neuk.

 

    As Tammie glowr'd, amaz'd, and curious,

    The mirth and fun grew fast and furious;

    The Piper loud and louder blew,

    The dancers quick and quicker flew,

    The reel'd, they set, they cross'd, they cleekit,

    Till ilka carlin swat and reekit,

    And coost her duddies to the wark,

    And linkit at it in her sark!

 

    Now Tam, O Tam! had they been queans,

    A' plump and strapping in their teens!

    Their sarks, instead o' creeshie flainen,

    Been snaw-white seventeen hunder linen!-

    Thir breeks o' mine, my only pair,

    That ance were plush o' guid blue hair,

    I wad hae gien them off my hurdies,

    For ae blink o' the bonie burdies!

    But wither'd beldams, auld and droll,

    Rigwoodie hags wad spean a foal,

    Louping an' flinging on a crummock.

    I wonder did na turn thy stomach.

    But Tam kent what was what fu' brawlie:

    There was ae winsome wench and waulie

    That night enlisted in the core,

    Lang after ken'd on Carrick shore;

    (For mony a beast to dead she shot,

    And perish'd mony a bonie boat,

    And shook baith meikle corn and bear,

    And kept the country-side in fear);

    Her cutty sark, o' Paisley harn,

    That while a lassie she had worn,

    In longitude tho' sorely scanty,

    It was her best, and she was vauntie.

    Ah! little ken'd thy reverend grannie,

    That sark she coft for her wee Nannie,

    Wi twa pund Scots ('twas a' her riches),

    Wad ever grac'd a dance of witches!

 

    But here my Muse her wing maun cour,

    Sic flights are far beyond her power;

    To sing how Nannie lap and flang,

    (A souple jade she was and strang),

    And how Tam stood, like ane bewithc'd,

    And thought his very een enrich'd:

    Even Satan glowr'd, and fidg'd fu' fain,

    And hotch'd and blew wi' might and main:

    Till first ae caper, syne anither,

    Tam tint his reason a thegither,

    And roars out, "Weel done, Cutty-sark!"

    And in an instant all was dark:

    And scarcely had he Maggie rallied.

    When out the hellish legion sallied.

 

    As bees bizz out wi' angry fyke,

    When plundering herds assail their byke;

    As open pussie's mortal foes,

    When, pop! she starts before their nose;

    As eager runs the market-crowd,

    When "Catch the thief!" resounds aloud;

    So Maggie runs, the witches follow,

    Wi' mony an eldritch skreich and hollow.

 

    Ah, Tam! Ah, Tam! thou'll get thy fairin!

    In hell, they'll roast thee like a herrin!

    In vain thy Kate awaits thy comin!

    Kate soon will be a woefu' woman!

    Now, do thy speedy-utmost, Meg,

    And win the key-stone o' the brig;^1

    There, at them thou thy tail may toss,

    A running stream they dare na cross.

    But ere the keystane she could make,

    The fient a tail she had to shake!

    For Nannie, far before the rest,

    Hard upon noble Maggie prest,

    And flew at Tam wi' furious ettle;

    But little wist she Maggie's mettle!

    Ae spring brought off her master hale,

    But left behind her ain grey tail:

    The carlin claught her by the rump,

    And left poor Maggie scarce a stump.

 

    Now, wha this tale o' truth shall read,

    Ilk man and mother's son, take heed:

    Whene'er to Drink you are inclin'd,

    Or Cutty-sarks rin in your mind,

    Think ye may buy the joys o'er dear;

    Remember Tam o' Shanter's mare.


[Footnote 1: It is a well-known fact that witches, or any evil spirits, have no power to follow a poor wight any further than the middle of the next running stream. It may be proper likewise to mention to the benighted traveller, that when he falls in with bogles, whatever danger may be in his going forward, there is much more hazard in turning back.-R. B.]

full size illustrations here

http://forgetmenot525.multiply.com/photos/album/197/Tam_O_Shanter_illustrations