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Published online by Cambridge University Press: 16 February 2015
Provost Skene’s House, Aberdeen, is home to a painted ceiling depicting scenes from the lives of both Christ and the Virgin. This decoration has intrigued scholars and visitors alike for around sixty years since it was renovated and unveiled to the public in the early 1950s. The ceiling, painted in the seventeenth century, has suffered a considerable amount of damage. Unfortunately, half of the original decorative scheme has been lost. In addition to this, panels that do survive have been modified slightly during restoration. This article examines some of the early-modern continental prints used as sources by the original painters in order to determine that they were Scottish, and not travelling artists from the Low Countries. It also reconstructs the majority of the historic layout of the ceiling, by examining pre-restoration photographs of lost details in conjunction with further early-modern print sources. The article will attempt to identify some of the images which have been lost from the ceiling and argue that the original cycle of images depicted The Mysteries of the Rosary. It will also examine how the painted ceiling, created in the aftermath of the Reformation, survived both the effects of anti-Catholic legislation in Scotland and time. Finally, the relationships between the patron and his local recusant community are discussed in conjunction with the significance of the deliberate inclusion of the IHS monogram within the ceiling’s design.
1 Aberdeen City Council, Provost Skene’s House (Aberdeen 2004), p. 3.Google Scholar
2 Meldrum, Edward, ‘Sir George Skene’s House in the Guestrow, Aberdeen—its History and its Architecture’, Proceedings of the Society of Antiquaries of Scotland, 92 (1958–9), pp. 85–103 Google Scholar.
3 The Cushnie Muniments, ‘Instrument of reversion respecting the redemption of lands sold by Robert Cushnie, 25 May 1621’, MS. 930, Aberdeen University Library, 254.
4 Aberdeen City Council, op. cit., p. 3.
5 McRoberts., pp. 119–24 and Edward Meldrum, op. cit.
6 The demand for portraits, historic paintings and emblematic art increased in Scotland during the seventeenth century. It also became more popular to decorate the interiors of aristocratic homes at this time. This saw a rise in the making and purchase of painted ceiling decoration, canvas paintings, tapestries and decorated furniture.
7 Bath., pp. 1–27.
8 Ibidem., pp. 79–103.
9 In the fifteenth and sixteenth centuries Aberdeen shared trade links with London, Antwerp, Bruges and Veere. The most popular port that vessels from Aberdeen sailed to in the seventeenth century was Amsterdam—except when there was hostility felt towards the Netherlands in the years 1652–54: 1665–67 and 1672–4. More information can be found in Dennison, Patricia, Ditchburn, David & Lynch, Michael, Aberdeen Before 1800, A New History (Aberdeen 2002), pp. 159–181 Google Scholar. For specific information on Matthew Lumsden see McRoberts., p. 122.
10 In Aberdeen, the dense granite combined with primitive tools meant that it was impossible to shape local stone into decorative architectural features. Buildings for the most part at this time in the town would have looked similar to the current coarse and idiosyncratic appearance of the exterior of Provost Skene’s house, because stones would have not been manipulated prior to forming the wall. It would, however, have been possible to view Classical architectural features made from stone which had been imported. For example, there were columns and capitals at St. Machar’s cathedral in Old Aberdeen at this time fashioned from red sandstone.
11 Eisenstein, Elizabeth, The Printing Press as an Agent of Change, Communications and Cultural Transformations in Early-Modern Europe, Volume 1 (Cambridge 1980)Google Scholar.
12 Bath.
13 Ibidem., p. 127.
14 These photographs are currently held at the Royal Commission in the Ancient and Historical Monuments of Scotland in Edinburgh. RCAHMS. AB/1724–AB/1811.
15 RCAHMS. AB/1790.
16 Fra Angelico, The Annunciation, ca.1437–1446. Tempera Fresco, 154 × 194 cm. San Marco, Florence.
17 This observation is based on the photograph. Paint samples have not been analysed.
18 Gerard de Jode, The Annunciation, ca.1585. Engraving, 20 × 25.5 cm. BM. AN119568001.
19 Hollstein, Friedrich, Dutch and Flemish Etchings, Engravings and Woodcuts c.1450–1700 (Amsterdam, 1949), f.268 and f.524 Google Scholar. Maarten de Vos’ Annunciation is now part of a private collection. It was sold on 6 April 1995 at Phillips de Pury and Company, London.
20 Marcantonio Raimondi, Adoration of the Shepherds, ca.1502–1506. Engraving, 37 × 27.5 cm. BM. AN43015001.
21 Hall, James, Dictionary of Subjects and Symbols in Art (London, 1996), p. 247.Google Scholar
22 Marcantonio Raimondi engraved seventeen scenes from Dürer’s Life of the Virgin series and according to Vasari was selling these as originals in Venice in 1506; Vasari, Giorgio, Vita di Marcantonio Bolognese, e d’altri intagliatori di stampe, primo volume della terza parte Delle vite de’ piu eccelenti pittori, scultori e architettori (1568)Google Scholar. To observe Marcantonio’s plagiarism, compare: Marcantonio Raimondi, Annunciation, 1505–1515. Engraving, 29.6 × 21 cm. BM. AN48688001; Albrecht Dürer, Annunciation, 1503. Woodcut, 29.8 × 21.1 cm. BM. AN45709001.
23 RCHAMS. AB/1799.
24 Crispijn de Passe, the Elder, Resurrection, ca. 1596. Engraving, 13.5 × 10 cm. BM. AN123511001.
25 RCAHMS. AB/1731 and AB/1797.
26 Bonasone, Giulio, Entombment, 1563 Google Scholar. Engraving and etching, 28.8 × 17.6 cm. BM. AN39031001.
27 Andrea Solari (1460–1524), Crucifixion, 1503. Oil on panel, Louvre, Paris.
28 Riggs, Timothy A., Hieronymus Cock; Printmaker and Publisher (London 1977)Google Scholar.
29 Luther, Martin, Die Propheten alle Teutsch (Frankfurt, 1581)Google Scholar.
30 Virgil Solis, Two Designs for a Strapwork Border with Playing Putti and Lion’s Head, ca.1530–1562. Engraving and etching, 4.9 × 9.5 cm. BM. AN106382001.
31 Tillycairn Castle was owned by the Forbes family in the early sixteenth century. It became the home of the Lumsden family when Matthew Lumsden, the elder (d. 1580), uncle of the Matthew Lumsden who is believed to have commissioned the ceiling at Provost Skene’s House, married Lord Forbes’ granddaughter, Annabel. Upon Matthew Lumsden, the elder’s death, Tillycairn and the surrounding lands were passed onto his son, John Lumsden (d.1624); cousin of Matthew Lumsden, the younger. More detailed information on the Lumsdens of Tillycairn can be found in Slade, Gordon H., ‘Tillycairn Castle, Aberdeenshire’, Proceedings of the Society of the Antiquities of Scotland, 112 (1982), pp. 497–517 Google Scholar.
32 RCAHMS. AB/1761.
33 Giotto di Bondone, Christ Among the Doctors, 1304–1306. Fresco, 200 × 185 cm. Arena Chapel, Padua; Cort, Cornelius, Christ Teaching in the Temple, 1562 Google Scholar. Engraving, 29 × 32.2 cm, BM. AN808805001.
34 McRoberts., pp. 119.
35 Ibidem., pp. 119–120.
36 RCAHMS. AB/1730 and AB/1802.
37 RCAHMS. AB/1730.
38 Dürer, Albrecht, Ascension of Christ, 1510 Google Scholar. Woodcut, 12.6 × 9.7 cm. BM. AN39553001.
39 Israhel van Meckenem, Ascension of Christ, ca. 1460. Engraving, 7 × 4.9 cm. BM. AN51800001.
40 RCAHMS. AB/1730.
41 Dürer, Albrecht, Coronation and Assumption of the Virgin, 1510 Google Scholar. Woodcut, 29 × 20.7 cm. BM, AN45717001.
42 Suggestion that the Mysteries of the Rosary may relate to function, but cannot be fully determined given lack of knowledge regarding complete scheme can be found in McRoberts., p. 120 and Bath., pp. 1–27.
43 It is widely known that the rose is a symbol for the Virgin. Logically, therefore, a ring of roses suggests the Immaculate Conception as it has links to the Hortus Conclusus; the Virgin as an enclosed garden. Further reading: James Hall, op. cit., p. 329.
44 I am grateful to Prof. Peter Davidson (AU) for informing me that this badge is precisely the form used by the Jesuits in the 1630s.
45 I am grateful to Jan Graffius (AU) for sharing this with me.
46 RCAHMS. AB/1732 and AB/1791.
47 The frontispiece of the following provides an example of a similar design to that found on the ceiling: Straet, Jan van der, Quindecim Mysteria Rosarii B. Mariæ Virginis (Antwerp, 1577)Google Scholar.
48 I am grateful to Dr. Tom McInally (AU) for pointing this out to me.
49 Sir Paul Menzies was Provost of Aberdeen from 1623 to 1634 and again in 1635.
50 Stevenson & Davidson, p. 61.
51 Stevenson & Davidson, p. 61
52 Stevenson & Davidson, p. 61
53 Stevenson & Davidson, p. 61
54 Stevenson & Davidson, p. 62.
55 Stevenson & Davidson. p. 63.
56 MW1.
57 Ibidem.
58 Ibidem.
59 Ibidem.
60 McRoberts., p. 120.
61 This was noted in McLennan, Bruce, ‘Presbyterianism Challenged’, PhD Thesis. Aberdeen University, 1977 Google Scholar; UK. Primary sources: MS Records of the Kirk-Session of Dyce, May 26, 1650; MS Records of the Presbytery of Carioch, July 1650, Records from the Provincial Assembly, Oct. 16, 17, 18, 19, 1649; Oct. 16, 17, 18, 1650; MS Records of the Kirk-Session of Ellon, Oct. 24, 1650; MS Records of the Presbytery of Fordyce, MS Records of the Provincial Assembly, Oct. 16, 17, 18, 19, 1649; Records of Old Aberdeen, ii, 28–9, 33. Extracts from the 53. Records of the Kirk-Session of Old Machar. April 16, 1648.
62 MS Records of the Provincial Assembly, Oct. 16, 17, 18, 19, 1649.
63 Once again, I am grateful to Dr. Tom McInally (AU) for providing this information.
64 This was noted by Bruce McLennan, op. cit. Sources: Spalding Club, Records of the Scots Colleges (Aberdeen 1906), p. 35, p. 113; Gordon, James, The Catholic Church in Scotland from the Suppression of the Hierarchy to the Present Time (Glasgow, 1869), p. 576 Google Scholar.
65 Spalding Club, op. cit., p. 35, p. 113.
66 The Cushnie Muniments, ‘Instrument of reversion respecting the redemption of lands sold by Robert Cushnie, 25 May 1621’, MS. 930, Aberdeen University Library, 254. The Cushnie Muniments, ‘Contract which hands over ownership of lands at Fowlis Mowat to Andrew Birnie, 1628’, MS. 930, Aberdeen University Library, 291.
67 H. Gordon Slade, op. cit.
68 The Cushnie Muniments, MS 930, Aberdeen University Library.
69 I am grateful to Prof. Peter Davidson (AU) for informing me that this information can be found in MS Anglia 42, Archivum Romanum Societatis Iesu, Rome.