An archive of almost 800 historic tartan samples has been donated to National Museums Scotland. The textiles were produced by J&D Paton, one of the largest tartan manufacturers of the 19th and 20th centuries, and have been gifted to the nation by Stuart Paton, the great great grandson of the firm’s founder. A unique archive, the extensive J&D Paton collection has the scope to rewrite our understanding of tartan.
The samples record the firm’s production from its foundation in the 1820s to its closure in the 1960s, including rare examples of tartans woven for women’s fashion, textiles created for Queen Victoria and the Royal Family during the Highland revival, military fabrics supplied to the Scottish regiments and previously unrecorded clan tartans. The firm reached the height of its popularity in the late 19th century with prolific production continuing through both world wars. At its peak, J&D Paton employed around 500 people across four factory sites near Tillicoultry, in Stirlingshire. Family run for five generations, the company produced internationally-renowned tweeds and tartans, winning awards for fine fashion textiles sometimes woven through with silk.
Two University of Glasgow postgraduate students are helping to transform understanding of Scotland’s textile heritage through their research on a major new tartan acquisition by National Museums Scotland. To date, the students have helped catalogue more than 150 individual samples, laying vital groundwork for future research and public access. Student Layla Spurlock said: “It was a pleasure to spend the past semester working at National Museums Scotland on the J&D Paton Tartan collection. This collection is a vital resource to the country and the larger world. The work conducted can be used by researchers to rewrite our understanding of tartan history.”
Each sample in the archive is unique, serving as a working record for the identification of clans, patterns and colours essential to the weaving process. This rich library provides a rare detailed picture of the history of mass manufacturing at a time when tartans were expanding into new fashions and global marketplaces. Meticulously cared for by the Paton family for over two hundred years, the collection will now be catalogued and made available for research at the National Museums Collection Centre in Edinburgh.
Dr Mhairi Maxwell, Curator of Modern & Contemporary History at National Museums Scotland said “Tartan is one of the most recognisable symbols of Scotland and the exceptional J&D Paton collection is of immense importance to ongoing research into the history of the iconic textile. We have only just begun to uncover of the stories woven through this remarkable archive and I’ve no doubt there are many discoveries waiting to be made, all thanks the generosity of Stuart Paton and his family.”
Stuart Paton, former Director of J&D Paton, added: “I am delighted to find a long-term home for the collection with National Museums Scotland. The donation is made in memory of my godfather Captain Paton a long-time chairman of the company, in the hopes it will become a valuable asset for those researching and learning about Scotland’s textile heritage for generations to come.”
National Museums Scotland holds one of the largest and most diverse tartan collections in the world spanning over three centuries of production history.
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Every year, the Glengarry Highland Games welcomes a Canadian celebrity to open its annual Scottish festival held in Maxville, Ontario. Over the Games’ seventy-seven years, Prime Ministers and Governor Generals, hockey heroes like Jean Beliveau and John Winsink, and local heroes like Jean and Jim Campbell have done the honours of opening the Games.
This year, the Games are thrilled to announce that fiddler, step dancer and composer, and Glengarry favourite, Kelli Trottier will be the 2026 Guest of Honour. Games President, Betty McIntosh said: “The Glengarry Highland Games is very pleased to have the multi-talented Kelli Trottier open this year’s Games. She was born and raised in a nearby hamlet to a musical family and is now teaching and sharing her talent for singing, songwriting, and fiddling across the globe. Kelli has previously performed at our Games and wrote the winning song for our 75th anniversary, Mc or Mac. We look forward to her sharing her time and talent at this year’s opening.”
Born into a musical family, Kelli started step dancing lessons at the age of five and the fiddle at the age of nine. Kelli amassed many dancing and fiddle trophies over those years and in a class of 35 contestants, became The Maritime Fiddle Champ at age eighteen. She has played with Red Rose Express, the Bobby Lalonde Band, Wayne Ronstad & the Family Brown and Glengarry’s own Brigadoons. For nine years, she toured much of the world as a featured soloist in the sensational violin and fiddle production, Bowfire.
Traditions still thriving
Kelli is a Member of the North America Fiddlers’ Hall of Fame, the Ottawa Valley Country Music Hall of Fame and the Glengarry Celtic Music Hall of Fames plus being nominated three times for Fiddle Player of the Year by the Canadian Country Music Association. Among her many appearances, Kelli has performed for Canadian soldiers in the Middle East and the Canadian Arctic, entertained twenty thousand fans at Ottawa Senators games and performed at Sean Connery’s 80th birthday party.
In addition to her extensive performing experience, Kelli continues to be a highly sought-after instructor and judge of fiddle and stepdance events across Canada and parts of the U.S. Trottier is most proud to have played a part in bringing about National Fiddling Day in Canada in 2015.
Kelli said: “How lucky was I to have grown up in Glengarry County; surrounded by music and Scottish tradition? I became a proud member of the Glengarry Old Tyme Fiddlers at the age of 9 and though I have lived most of my adult life away, Glengarry will always be my home. It is a tremendous honour to open this year’s Glengarry Highland Games as Guest of Honour. Our Scottish founding ancestors have to be beaming with pride to see their traditions still thriving and reaching folks worldwide.”
Singing, dancing and playing her way to the top of her musical genre, Kelli Trottier is an unforgettable and enchanting artist, consistently delivering performances that raise her stature in the hearts and memories of audiences everywhere. Join Kelli and thousands of others at this year’s Games for two full days of wall-to-wall Scottish traditional events, the finest in Celtic music and all things Scottish. Kelli will be officially opening the Games at noon on Saturday, August 1, 2026.
The Glengarry Highland Games take place in Maxville, Ontario on July 31 and August 1st. For full details visit: www.glengarryhighlandgames.com
Main photo: Kelli Trottier. Photo: Glengarry Highland Games.
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It took just six minutes for the much-loved reconstruction of an Iron Age crannog on the banks of Loch Tay in Perthshire to burn down in June 2021. The centrepiece of The Scottish Crannog Centre had been carefully created by archaeologists 25 years before the fire. It was a bitter blow for all staff members and volunteers, not to mention the thousands of visitors who came through its doors every year. However, work began to rebuild the Centre in May 2023 and it reopened on new site, 12 times bigger than the original one, on the other side of the loch at Dalerb in April 2024.
Reconstructing the crannog itself, however, was much a much more complex undertaking with work beginning in October 2024 at a cost of £700,000 (the rest of the site cost £5m). Now, five years on from the blaze, and more than 20,000 human hours later, a brand new crannog has been unveiled. First Minister John Swinney who represents Perthshire North and lives in the area, gave the opening address at the event. Award-winning singer Barbara Dickson, who has sold more albums than any other female Scottish artist, also performed.
An incredible structure
The crannog has been built by a team of specialist craftspeople and apprentices, with eight of them working in two teams on the structure at any one time. Although workers have used modern tools and equipment to meet construction site standards, ensure wellbeing and safety, and make headway. A range of traditional skills, such as roundwood timber framing, hazel coppicing, hurdle making and thatching have been at the forefront of the build. The structure is, therefore, very much in keeping with a dwelling place inhabited by our prehistoric ancestors, including the materials they would have used. Around 300 European Larch trees were acquired for the crannog from a variety of local and Scottish woodland suppliers, including a tree felled from the roadside; no parts of the timber were wasted.
Volunteers have worked alongside professionals to help construct the crannog, with individuals and groups giving up a total of 1000 hours to help rebuild the replica of an Iron Age home. Mike Benson, Director of The Scottish Crannog Centre said: “The opening of the new crannog signifies that we have now completely recovered from the fire. Since the blaze we’ve been a bit like a Van Gogh museum without any Van Gogh. Although we relocated to a larger site and built a new visitor centre, museum and Iron Age village within three years, constructing a new crannog, as you might imagine, was a much more ambitious project. The crannog is an incredible structure, but it’s not just a building: it’s part of our community. Many consider our Centre a home and a place of sanctuary. People come to learn about the past and find out what role it can play in our future. Aside from the crannog itself, we have a number of thatched buildings in which our team demonstrates traditional skills, such as weaving, blacksmithery and woodworking, to our visitors, keeping these crafts alive and introducing them to new generations. In short, it’s a remarkable achievement of which we are all extremely proud. Do come and visit!”
Did you know?
The roundhouse (the part of the structure in which people lived) is approximately 8m high from floor to thatch.
Timber posts were driven 1m into the loch bed.
The top of the roundhouse towers 14m above the loch bed at its deepest.
The floor of the crannog is 6m above the average waterline (measured in April when the water is neither at its highest or lowest).
The crannog has a diameter of 15m and is 48m in circumference including the walkway around the roundhouse (that’s around the size of a small circus tent).
The bridge is 50m long.
Main photo: Andrew Allan.
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In the Firth of Forth, it is a time of new beginnings. As breeding season peaks for Bass Rock’s around 100,000 strong gannet population and neighbouring Craigleith’s 10,000 puffins, a new chapter for the islands and its feathered residents has begun.
Thanks to £586,000 funding from the National Heritage Memorial Fund, Bass Rock and Craigleith islands have been acquired by RSPB Scotland from the Dalrymple family, including funds for the most immediate maintenance needs. This will bring the islands into charitable ownership for the first time in 320 years and ensure nature is at the heart of their futures for generations to come.
Advocate for Scotland’s seabirds
Gannets on Bass Rock. Photography for The National Lottery Heritage Fund from: Colin Hattersley Photography.
Bringing the islands into RSPB Scotland stewardship comes at a crucial time. More than 70% of Scotland’s seabirds are in decline and facing unprecedented threats from climate change, food scarcity, invasive species and the impact of human activity. On Bass Rock and Craigleith, the spread of invasive tree mallow and the spread of Avian Flu (HPAI) in 2022 made a significant impact on the gannet populations. In partnership with the Scottish Seabird Centre, RSPB Scotland has ambitious plans to save, safeguard and celebrate the natural heritage and history of the islands. The future plans are supported by £372,000 of development funding from The National Lottery Heritage Fund with the potential to unlock a further £589,000 of money raised by National Lottery players. Plans include an immersive new viewing theatre in the Scottish Seabird Centre, inclusive boat trips and community outreach.
RSPB Scotland and the Scottish Seabird Centre will deliver a crucial coordinated conservation plan across both islands, carrying out monitoring and research and working with volunteers to help species and habitats survive and thrive. The partnership will advocate for Scotland’s seabirds, building a greater understanding of their needs and challenges and aiming to increase support and investment for seabird conservation and Scotland’s marine environment.
Bass Rock Gannets. Photo: James Glossop for Scottish Seabird Centre.
Strengthening public connection to Bass Rock, Craigleith and its species are integral to their future. A 360-degree viewing theatre will be built in the Scottish Seabird Centre, enabling people to watch the puffins, gannets and other marine species in real time without disturbing their habitats. This will be welcome news for birdwatchers, whose numbers have increased by 47% overall since 2018 and by 1,088% for 16 to 29 year olds, according to a report published by RSPB.
Future engagement work will include inclusive boat trips, school workshops and compiling community memories of the islands which are an imposing and iconic part of the Firth of Forth seascape, not just for their role as seabird strongholds but for their rich histories and their depictions in art and literature.
Anne McCall, Director, RSPB Scotland said: “We’re thrilled to be taking on stewardship of Bass Rock and Craigleith, expanding the RSPB nature reserve network around the Firth of Forth thanks to the National Heritage Memorial Fund and National Lottery Heritage Fund. With the pressures facing Scotland’s seabirds intensifying, we have a responsibility to act. This partnership gives us the opportunity to drive forward seabird recovery at this crucial time. Through management, research, community engagement and advocacy, we can secure a brighter future for species like Puffins and Gannets.”
Among the world’s most awe-inspiring natural wonders
Bass Rock. Photography for The National Lottery Heritage Fund from: Colin Hattersley Photography.
Harry Huyton, CEO, Scottish Seabird Centre said: “Bass Rock and Craigleith are among the world’s most awe-inspiring natural wonders, and their integration into the RSPB’s nature reserve network is a historic day for Scottish nature. This ambitious partnership between the Scottish Seabird Centre and the RSPB builds on years of dedicated stewardship, where our volunteers, local communities, and the Dalrymple family have worked tirelessly to restore these islands—most notably quadrupling Craigleith’s puffin population despite national declines. Together with RSPB Scotland, we will ensure these vital sanctuaries are conserved forever, deepen public connection to these incredible places, and inspire collective action to protect Scotland’s iconic seabirds for generations to come.”
Sir Hew Dalrymple, former landowner, added: “The Dalrymple family have been fortunate to have been custodians of the Bass for over three hundred years. During my lifetime the Gannet population has quadrupled. However, it is clear the seabird colonies of the Forth now face unprecedented challenges, most notably from wind turbines, pollution, over-fishing and disease. I believe that RSPB Scotland is the organisation best equipped to take up this challenge on their behalf, so I am delighted to pass on to them stewardship of Craigleith and the Bass.”
Atlantic puffin Fratercula arctica, adult in flight. Photo: Holly Paget Brown RSPB.
Bass Rock was home to Saint Baldred, an early Christian hermit who settled there in around 600 AD, the remains of a chapel dedicated to him still exist. Legend has it that the island was granted to the Lauder family by King Malcolm III in the 11th century. The Lauders held the island for nearly six centuries, during which it became a site of royal visits, including those from King James IV and King James VI. The remains of the 15th century castle exist today which is a Scheduled Monument. In the 17th century Bass Rock was transformed into a prison, often referred to as Scotland’s Alcatraz. It housed political prisoners and was a significant site during turbulent times in Scottish history.
In 1706, the Dalrymple family acquired Bass Rock. Under their stewardship, the lighthouse was built in 1902 by David Alan Stevenson and has helped ships navigate the Firth of Forth ever since. The engineer’s cousin and renowned author, Robert Louis Stevenson, wrote of the Bass Rock in his 1893 novel, Catriona, “It was an unco place by night, unco by day; and there were unco sounds; of the calling of the solans (gannets), and the plash (splash) of the sea, and the rock echoes that hung continually in our ears.”
The islands have also been depicted by artists including JMW Turner in his painting ‘The Bass Rock’ c.1824.
Main photo: Adult Puffin. Photo: Ben Andrew RSPB.
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Scotland’s relationship with the United States of America will be celebrated through a new tartan to celebrate 250 years of American independence. A new design by Kaci McEwan, a student from Heriot-Watt University’s School of Textiles and Design, has been selected as a symbol of the historic and cultural ties between Scotland and the United States. The tartan, which was commissioned by the Scottish Government and was selected by a panel including the US Ambassador to the UK Warren Stephens, focuses on the United States’ journey towards independence, with carefully numbered threads and colour sections symbolising key moments in early American history.
External Affairs Minister Stephen Gethins said: “Scots were at the heart of the United States’ emergence as an independent country. Ever since, those deep bonds of family and friendship have endured, with a diaspora of millions across the US. Celebrating 250 years of American independence strengthens the enduring connection between America and Scotland – bonds which act as a bridge between our past, and our future, as two proud nations. The winning tartan commemorates significant moments in US history, whilst highlighting Scotland’s creative drive to offer a modern symbol of the strong and evolving cultural ties between both countries. I warmly congratulate Kaci McEwan on this outstanding achievement, and commend all those shortlisted for their exceptional work in bringing this shared history to life. Each of the shortlisted designs reflected a deep appreciation of the historic ties between Scotland and the United States. As Scotland takes its place at the men’s World Cup, the Scottish Government will showcase the skills and expertise we can offer the US and wider world.”
A meaningful tribute
Jennifer Condon, Executive Vice President of America250 added: “America’s 250th anniversary is an opportunity to celebrate the people, traditions, and cultural connections that have shaped our nation’s story. This commemorative tartan is a meaningful tribute to the enduring friendship between Scotland and the United States, and Kaci McEwan’s thoughtful design beautifully reflects the shared history and values that continue to connect our two countries.”
Heriot-Watt University’s School of Textiles and Design student Kaci McEwan said: “I still can’t quite believe it. When I first read the email, I genuinely thought it must have been sent to everyone and I’d misunderstood it. I had to read it a few times before it really sank in that I’d actually won. It feels incredibly surreal, but also really rewarding, because I put so much time and care into researching and developing the design. For me, the tartan was about telling a story. Every thread and colour represents a moment in the journey towards the Declaration of Independence — from the 13 colonies to key dates and even subtle references like the 4th of July. Being able to bring that narrative to life through weaving has been such an exciting creative challenge. To now have my work recognised on such an international scale is incredibly exciting, and I’m so grateful for the guidance and encouragement I’ve had throughout my studies. It’s been an amazing journey, and this really feels like a special way to mark the end of it.”
Kaci McEwan’s tartan was selected from five shortlisted designs. Kaci will travel to Washington D.C. to formally present the tartan from Scotland to the America250 organisation on Independence Day, July 4. The tartan will be officially registered with the Scottish Register of Tartans as the official commemorative tartan for the America-250th organisation. An initial commemorative run of tartan scarves will be produced at Lovat Mill in the Scottish Borders.
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Boston Mayor Michelle Wu has announced plans to formalize an international partnership with the City of Glasgow, to strengthen economic, cultural and institutional ties. Building on shared values and the collaboration during the 2026 FIFA World Cup, the two cities will consider opportunities for cooperation in innovation, education, sustainability and tourism. “The Scottish community has helped shape Boston for centuries, and today we’re proud to build on those longstanding ties by establishing a sister-city partnership with Glasgow,” said Mayor Michelle Wu. “Our cities share rich histories, world-class educational institutions, vibrant cultural communities, and a commitment to innovation and opportunity. We look forward to strengthening the connections between our residents, businesses, and institutions as we build a partnership rooted in shared values and collaboration.”
Boston will join cities such as Marseilles in France, Nuremberg in Germany, Havana in Cuba, Dalian in China to name a few who have twinned with Scotland’s largest city.
”I warmly welcome Mayor Wu’s declaration and the opportunity to strengthen the already close ties between Boston and Glasgow,” said Lord Provost of Glasgow Dr Cllr Jacqueline MacLaren. “Given the strong historical, cultural, educational, and economic links between our two cities, we believe there is tremendous potential to cement a shared ambition to build an even stronger partnership for the future. In recent weeks, Boston has experienced a very Glaswegian welcome of its own. The Tartan Army and Scotland supporters have left a lasting impression on Bostonians during the FIFA World Cup, not just through their passion for the game, but through their warmth, friendliness, and unmistakable sense of humour. They have been true ambassadors for Scotland, and for Glasgow, showing the very best of who we are as a nation. There is also a strong alignment in how our cities are tackling some of the biggest challenges of our time. Glasgow and Boston are already working side by side to build more sustainable, resilient and inclusive futures for our communities. From climate action and our shared commitment to achieving net zero, to collaboration through networks such as the Carbon Neutral Cities Alliance and the Global Resilient Cities Network. That spirit of openness, shared purpose and international collaboration is at the heart of what we hope to grow between our cities, across academia, business and civic life, that benefit our communities on both sides of the Atlantic.”
The strengthening relationship between Boston and Glasgow
Photo: Glasgow Life.
“As Scotland supporters have filled Boston, it has been wonderful to see the enthusiasm with which Bostonians have welcomed the Tartan Army and Scottish visitors have embraced this great city. Those people-to-people connections are at the heart of the strong relationship between Scotland and Massachusetts,” said UK Consul General David Clay. “Glasgow and Boston share a spirit of openness, creativity, and international engagement, and this agreement provides an exciting platform to deepen cooperation across trade, innovation, culture, and civic leadership in the years ahead.”
“I warmly welcome the strengthening relationship between Boston and Glasgow, building on the long-standing ties between Scotland and the United States,” added Scottish First Minister John Swinney. “This partnership reflects shared commitments to sustainable and inclusive growth. As global cities, both Glasgow and Boston bring significant strengths across academia, business and civil society, creating strong foundations for closer collaboration. I am particularly pleased to see that cultural and people-to-people links are at the heart of this partnership. The warmth, friendship and good humour shown by the Tartan Army in Boston recently have been a powerful example of how our people act as great ambassadors for Scotland on the world stage.”
Through a Letter of Intent, the two cities expressed a shared commitment to inclusive growth and global engagement, laying the foundation for a meaningful and mutually beneficial partnership. Boston will explore opportunities for collaboration across key areas, including economic development, education and workforce training, research and innovation, arts and culture, tourism, sustainability, public health, and major international events.
Two great cities
“This is a fantastic gesture from our friends in Boston, and we’re thrilled to have the opportunity to build solid and lasting links between our two great cities. Boston and Glasgow have been central to the stories of our nations, we’re two global centres of learning, knowledge and culture, and we’ve both world-wide reputations as sports-mad cities with real personality,” said Leader of Glasgow City Council Susan Aitken. “I’ve had the pleasure of meeting Mayor Michelle Wu and I know that many of her priorities for her city closely align with those we have for Glasgow. We’re already looking forward to building on these common goals and forging a partnership of real substance. And, of course, as the leader of a city known for the warmth of its welcome, I’m delighted to see how well Bostonians have received the Tartan Army, who are again showing themselves to be tremendous ambassadors for Glasgow and for Scotland.”
As Boston commemorates the nation’s 250th anniversary and Glasgow continues to demonstrate global leadership in culture, sustainability, education, and innovation, both cities recognise the value of deepening collaboration among residents, businesses, universities, cultural institutions, and civic leaders.
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Shackleton’s famous shipwreck can now be seen up close and in unprecedented 3D detail at Discovery Point in Dundee, thanks to a collaboration between the Falklands Maritime Heritage Trust (FMHT) and the Dundee Heritage Trust (DHT). One of the most accurate representations of a deep-ocean heritage site to ever be produced, the 3D model is on show at the home of RRS Discovery until November 2026, offering a remarkable opportunity to explore the wreck up close for the very first time; revealing details down to the grain of the timbers and the helm. The loan of the model from FMHT to DHT brings the first public showcase of the model in Scotland, at one of the country’s most significant centres for polar and maritime history. Admission to see the model display is included in standard Discovery Point entry tickets.
The model was unveiled in April, followed by a sold-out talk by Mensun Bound – one of the world’s leading maritime archaeologists and Director of Exploration on the two expeditions to find Endurance – giving insight into both Shackleton’s extraordinary expedition and the modern mission that rediscovered the wreck in 2022. During his lecture, Bound described Dundee as “home of the ice ships”, and shared stories of encounters with local wildlife when playing football on the ice in the Antarctic, the “sunburst moment of joy” when the Endurance wreck was discovered, and the feeling of peering through two portholes into Shackleton’s cabin – where he knew that a framed copy of Rudyard Kipling’s “If” would likely still be found.
Lost beneath Antarctic ice for more than a century, the wreck of Endurance was discovered in 2022 during the Endurance22 expedition, led by FMHT. Located more than 3,000 metres below the surface of the Weddell Sea, the site remains one of the most remote and protected heritage locations on Earth. Because the wreck is safeguarded under the Antarctic Treaty System and a strict Conservation Plan, it must remain undisturbed.
Instead, the Endurance22 team used pioneering non-invasive archaeological techniques to record the wreck in extraordinary detail, capturing over 25,000 high-resolution images alongside laser and sonar data to create a scientifically precise digital twin of the site. This 3D printed model of the wreck translates that data into physical form. Produced at a scale of 1:29.3 using PLA (polylactide) and requiring approximately 350 hours to print, it represents one of the most accurate physical recreations of a deep-ocean heritage site ever produced.
Dundee as a Polar and maritime hub
Menson Bound, Director of Exploration of Endurance22 expedition on the sea ice of Weddell Sea, in the Antarctic. Photo: Esther Horvath and Falklands Maritime Heritage Trust.
The 3D model is on display alongside Shackleton’s memorial cross, the Hope Cross – overlooking the Discovery, the first ship to transport Shackleton to Antarctica. A major conservation project is currently underway on the ship to preserve it for future generations.
Elena Lewendon, Chief Operating Officer at FHMT said, “For me, this model is where exploration and technology truly meet. It takes millions of data points and turns them into something people can stand in front of and connect with. It’s about making the story of Endurance tangible and sharing that sense of discovery with everyone.”
Mensun Bound added: “The so-called ‘unreachable’ Endurance was situated in one of the most remote and hostile spots on the planet, a place that Shackleton himself called the worst portion of the worst sea on earth. Yet today, we can stand in a museum and look at it in extraordinary detail. This model is not an interpretation; it is a faithful, data-driven representation of the wreck exactly as it lies on the seabed. It allows people to connect, in a very real way, with both Shackleton’s story and the moment of discovery in 2022. That, for me, is the real power of this project.”
Main photo: The Endurance Wreck. Photo: (c) Falklands Maritime Heritage Trust.
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The tales from Holyrood Park have filled many books, from murder mysteries and trysts with the devil to dances with the fairy folk and waters that preserve eternal beauty. It never ceases to amaze me that such a place stands at the heart of the city I call home, open to all who seek it.
Even after thousands of walks within Holyrood Park there are still aspects of it that surprise me and paths I realise I have yet to explore. What follows are three of the old tales of the park of which no single, universally accepted versions exist. I have amalgamated the various tellings here along with a few variations of my own, for every story changes with the teller.
Fittingly for a hill which once breathed fire across the land, a very old tale tells of a dragon who dwelt atop Arthur’s Seat. Hundreds of feet long with a maw that could swallow whole herds of cattle at once, it was ravenous and a terror to any who dwelled too close to its eyrie. Nothing but ashes were left to the people who felt its wrath.
At the brink of starvation and ruin, a hero emerged among the people. He was no great warrior or cunning hunter, but a young and slight boy barely larger than a lamb. His name is not given, but I like to imagine that he was called Etin. Etin possessed the greatest strength of all – wits, and the courage to put them to the test.
Etin told the people his plan. The dragon had recently feasted so much that it could no longer fly and was curled round the summit of Arthur’s Seat sleeping off its meals. Etin instructed the villagers to quietly construct a great wooden ramp leading up to the summit. Beneath the ramp they planted huge, sharpened wooden spikes. Etin himself would lead some sheep up the hill as lures, wake the dragon, then run down the ramp with the serpent in pursuit.
So he did, leading three rather reluctant sheep steadily higher until he came face to face with the dragon. The smell and bleating of the sheep woke it, for even in its gluttonous state it could not resist another morsel. Just by breathing in the dragon pulled the first sheep into its jaws, while Etin and the others began racing down the ramp.
Endlessly greedy, the dragon pulled itself across the rocks with its claws and slithered down the ramp after Etin. Before long the second sheep fell behind and into its fangs, and then the third. Just when it seemed it would devour Etin too, he leapt off the side of the ramp and landed safely in a plume of heather. ‘NOW!’ he shouted, and the villagers chopped at the ramp’s supports.
The dragon’s own weight did the rest. The ramp collapsed, the dragon fell onto the spikes, and breathed its last furnace-like breath. Its body was so vast that even while its tail was still wrapped around the summit, its head and ridged spine extended a mile to the west. Many years passed and the dragon’s bones became the foundation for what we now call the Royal Mile. The line of crags leading up Arthur’s Seat from near St Margaret’s Loch are the remnants of its tail. Thanks to Etin the people could finally live in peace. He grew to be a wise and noble man and was made the chieftain of his people. They built a great town atop the dragon’s bones and called it Etin’s Burgh.
Places named for King Arthur and his deeds are many across southern Scotland, Wales, and England, yet their provenance will always be something of a mystery. Little about Arthur is known with any certainty – indeed, historians can’t even agree if he was real at all – but one Edinburgh connection is undeniable.
The highest point in Holyrood Park is Arthur’s Seat, the plug of the 340-million-year-old volcanic system which gave Edinburgh its seven hills. In folklore it is known as a ‘hollow hill’, with a hidden realm beneath it. Others include the Eildon Hills near Melrose, Schiehallion in Perthsire, and Ben Cruachan in Argyll. It is beneath Arthur’s Seat that Arthur and his heroes are said to sleep, awaiting the hour of our greatest need to rise again and save us. But why here?
In the 6th century AD, long before there was such thing as Scotland, the people here were the Gododdin. These Britons ruled from their hillfort of Dun Eidyn, where Edinburgh Castle now stands. Yet, the Germanic Angles of Northumbria were pressing northwards into Gododdin lands. Something had to be done.
King Mynyddawg Mwynfawr held a year-long feast in Dun Eidyn to prepare for the showdown. Meat and ale were consumed in huge quantities. At last, the Gododdin mounted their steeds and rode out to battle. It was a brutal clash. The epic poem recounting it tells of “…the crashing of shields loud as thunder / Ripped and pierced with spear-points”.
Due in no small part to the effects of the ale, the Gododdin were defeated. Just three warriors returned to Dun Eidyn, among them the bard Aneirin who wrote the poem, Y Gododdin. In the poem he tells of a fallen hero, Gwarrdur, “who though he was no Arthur, made his strength a refuge, the front line’s bulwark.”
This is the earliest known reference to Arthur in any work of literature. It survives in the 13th century Book of Aneirin but was originally written in the last decade of the 6th century. Its author was a native of the place we now call Edinburgh. Am I saying that the mythic Arthur was from here, or even that he came here? No. Yet, the people of Dun Eidyn clearly revered him and compared their great warriors to him, since they were part of the Brittonic culture which Arthur fought to defend from the Saxons. That cultural connection is how Arthur’s Seat got its name.
Across the Celtic world, the white hart – a stag with white fur – was a symbol of the pre-Christian Otherworld. It brought favour to those it appeared to, a good omen that was later appropriated by Christians as a sign from God. In 1128 AD King David I was celebrating the feast of Holy Cross Day, 14 September, in Edinburgh Castle. Ever restless, he was keen for a royal hunt in the vast parkland one mile to the east. Being a feast day, his nobles and clergy bristled at the idea but he could not be dissuaded.
David mounted his favourite white stallion and led the grand hunting party down the Royal Mile. He was such a skilled rider that by the time they reached the bottom, he was well ahead of the rest and already stalking the forest.
Almost immediately he saw the hart. Wishing to capture it to demonstrate his divinely-blessed nobility, he charged straight for it. He did not expect for it to charge back at him! The king was thrown from his mount with no one near to help him. The hart, angered by his arrogance, tried to gore him with its antlers. David seized its antlers in a desperate grapple, but his strength was not equal to the hart’s.
Just as the hart was about to impale him, a glowing cross appeared between his hands and frightened it away. Shaken but alive, he withdrew to the castle to recover. That night he was visited in a dream by St Andrew, patron saint of Scotland, who scolded him and instructed him to build an abbey near the site of his encounter as penance.
This he did, establishing Holyrood Abbey. It is named for the Holy Rude, the fragment of the True Cross which David’s mother, St Margaret, had brought to Scotland. This name was also given to Holyrood Park where the hart had bested him.
Text and images: David C. Weinczok.
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A highly decorated stone pillar, reputedly carved by the Master Mason’s Apprentice, has been named the favourite feature of Rosslyn Chapel, in a survey of visitors. Research was carried out for Rosslyn Chapel Trust by Shanks Research Consultancy over the past year and sampled 4,414 visitors.
The Chapel’s famous Apprentice Pillar was named by 53% of visitors as their favourite feature, with carvings of the Green Man, Angel playing bagpipes, Seven Deadly Sins and the Mason’s Pillar also named as being among the most popular.
Medieval craftsmanship
Rosslyn Chapel, in Midlothian, was founded in 1446 and practically every surface inside and outside this unique building is carved in an outstanding display of medieval craftsmanship. According to legend, the Apprentice Pillar was carved by the Master Mason’s young apprentice, while the Master Mason was travelling abroad to seek inspiration for carving this important pillar himself. When he returned, he is said to have flown into a jealous rage on seeing the outcome of his apprentice’s work and struck the apprentice on the head killing him.
The Master Mason was then said to have been put to death for this act of murder. Inside the Chapel, a carved face of the Master Mason continues to look down at the famous work of his apprentice.
The Chapel came to global prominence when it featured in Dan Brown’s novel The Da Vinci Code and the subsequent film. The site attracted 159,000 visitors between April 2025 and March 2026 and is open all year round.
Main photo: The Apprentice Pillar. Photo: Peter Smith/Rosslyn Chapel Trust.
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A piece of a copper still has been recovered as part of a targeted archaeological excavation, providing strong evidence that a stone structure discovered in Ben Lawers National Nature Reserve (NNR) was used as a site for illicit whisky distillation. Found by members of the National Trust for Scotland’s Archaeology team and volunteers, the tapered copper alloy collar is thought to be, in Gaelic, An Gearradan, ‘the connecting piece’ between the lyne arm and the head of the still.
This is supported by an illustration found in a Gaelic dictionary from the early 20th century, which depicts A Phoit-dhubh, or ‘black pot’, with the parts of a small whisky still labelled. Further well-preserved features of the site provided clear evidence that the stone structure was a bothy purpose-built for clandestine whisky distilling. This includes a well-constructed hearth and evidence of burning, a substantial stone-capped drain that ran beneath the internal floor, and a timber roof-support post, which appears to have been buried when the walls collapsed on top of it.
There are five known illicit whisky bothies on the Ben Lawers NNR, which is cared for by the National Trust for Scotland, but the discovery of the piece of copper still is unique to this site.
Gripping story of spirit smuggling
National Trust for Scotland Achaeology team and volunteers at Ben Lawers. All images courtesy of the National Trust for Scotland.
In the 1780s, unlicensed private distillation, which had existed in Scotland for centuries and on which many Highland tenants relied, was declared illegal. Rather than pay the tax, distillers and smugglers went to great lengths to evade the excise officers, moving their illicit stills and hidden bothies into upland areas to avoid detection.
Derek Alexander, the National Trust for Scotland’s Head of Archaeology, said: “This is a wonderful example of how archaeology can tell a gripping story of spirit smuggling that would otherwise have been lost to time. In the early 19th century, illicit whisky distilling in these hills became a real battle of wits between excise officers and distillers. To find the remains of stills in these upland areas, you need to think like an excise officer. Those who distilled spirit in this bothy will have picked the location carefully to make sure they were well hidden. This bothy is well concealed along one arm of the Lawers Burn, nestled in a burn gulley where there’s a slight bend in the burn to shield the site from both upstream and downstream. The people who distilled here knew what they were doing and it’s possible the still was never seized by the authorities. If the still had been found by the excise officers, the still would’ve been taken away and destroyed. So, the fact that we’ve found this connecting piece here suggests the still was dismantled in a hurry and its components whisked away by the smugglers as they dispersed. The connecting piece may have been forgotten in the rush and left behind. “Distillers of illicit whisky would’ve travelled light and left little trace of their activity, and so a find like this is especially rare and exciting. It gives us a glimpse into an activity that was once rife in the hills of Ben Lawers and which was seen by many as an act of community resistance.”
The discovery was made as part of archaeological excavations undertaken at previously unexplored sites on the headwaters of the Lawers Burn, near Lochan nan Cat at Ben Lawers NNR. Previous survey work by the Royal Commission on the Ancient and Historical Monuments of Scotland (RCAHMS) had identified these as sites of suspected illicit whisky-distilling.
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The Aberdeen Highland Games mark a major milestone this year, celebrating their 25th Games at Jefferson Park, Aberdeen, on Saturday 4 July. Thanks to the unwavering support of the community, the event has continued to grow in strength and spirit.
The Honorary Chieftain for 2026 is Cam McKellar, who joins us from over the range at Willow Tree. A highly regarded piper and long‑time supporter of the Games, Cam and his family have contributed greatly over the years. You will no doubt spot him throughout the day as he moves around the grounds.
Exceptional entertainment
If you have never experienced the Aberdeen Highland Games before, prepare to be captivated by the Massed Pipes & Drums and the individual band performances that fill the park with music from morning to afternoon. Of course, no Highland Games would be complete without feats of strength. The Kilted Warriors return once again to amaze the crowd with their powerful displays. Also returning are the talented Kim Durie Dancers from Lithgow—performances you won’t want to miss.
Taking centre stage alongside the dancers will be world‑renowned fiddler Chris Duncan, joined by Katherine Strutt, bringing exceptional musical entertainment to the day’s program. For those who wish to continue the festivities into the evening, the Aberdeen Serviceman’s Club will host a Pipe Band Quintet competition, presented by the NSW Pipe Band Association and the Tamworth & District Pipe Band. Entry is free, and no booking is required. This year also sees the return of the Ceilidh at the Muswellbrook RSL Club.
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In November 2026, members of the worldwide Currie/Curry/Currey family (anciently MacMhuirich, “MacVurich”) will meet to select a chief for the first time in their history. Once influential poets and historians to the MacDonald Lord of the Isles and other prominent families and clans, the Learned Kindred of Currie will gather in Scotland for only their second clan convention in modern times. Held under the authority of the Lord Lyon King of Arms, family conventions provide an opportunity for members of an armigerous clan or name to affirm leadership, strengthen kinship ties, and celebrate shared heritage.
Earlier this year, the Court of the Lord Lyon in Edinburgh assigned a Supervising Officer for the Second Family Convention of the Learned Kindred of Currie: The Hon. Roderick Macpherson, Unicorn Pursuivant. The appointment of a Supervising Officer marks an important step in the preparation for the convention, ensuring that proceedings are conducted in accordance with Scotland’s heraldic law and ancient custom. The presence of a Supervising Officer reflects both the historic standing of the Currie name and the seriousness with which the Kindred approaches this gathering of the family worldwide.
The Rev. Dr. David Currie will oversee the convention on behalf of the Kindred. “In 2017, the Curries held their first recorded family convention to elect a Commander, affirming our identity as a learned kindred, distinct from any other clan or name,” said Currie. “Our upcoming family convention in November to elect a chief of the name and arms of Currie provides a unique opportunity for Curries around the world to united in making this status permanent.”
The first Currie Family Convention resulted in the appointment of Robert Currie as Commander. In 2019, he was also elected to membership in the prestigious Standing Council of Scottish Chiefs.
Currie history
The Currie of Balilone tartan was adopted as the official tartan for the entire Currie clan in 1992. Image: The Scottish Register of Tartans.
In 1959, William McMurdo Currie established the first Currie family society in Glasgow. The society thrived and drew both members and awareness for the family. At the same time, Professor Derek Thompson from the University of Glasgow’s Department of Celtic began writing a series of research papers for the Gaelic Society of Inverness which launched a contemporary appreciation for these Gaelic bards and their significance in Highland history.
Prior to his death, William Currie charged Robert Currie, an American family historian with breathing new life into this story. In 1992, the Clan Currie Society was incorporated in the United States as a family name society. This is still the official organisation leading the global family of the Learned Kindred of Currie.
In 2017, as the learned kindred was conducting its first convention, Professor Hugh Cheape from the National Centre for Gaelic Language and Culture said, “This kindred [Currie] as ‘bardic dynasty’ with such a remarkable history ought now to be recognised on the wider stage of Scottish culture as a family with an independent role at the centre of a widely connected and well-ordered culture…”
Will this family, descended from the 13th century Irish bard, Muireadhach Ó Dálaigh (O’Daly) ever be considered a Clan? Well-known genealogist, heraldist and historian Dr. Bruce Durie said, “Historically there never was a Clan Currie or Clan MacMhuirich, with territories and a quasi-military structure. The term ‘family’ is probably inappropriate for Currie, as it indicates the Lowlands. The MacMhuirichs, however, were proud Highlanders, and hereditary bards to a number of clans. They were truly a ‘learned kindred’, which may be the best designation for Currie.”
What is the significance of the Curries selecting a chief for the first time? “Selecting a chief allows the Curries to have a leader to take our rightful place alongside the clans and families that looked to us as bards for leadership,” said Rev. David Currie.
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Scotland Made the World in Canada and comedian Bruce Fummey is coming to tell you how.
Bruce Fummey is the stand-up comic behind the 260k subscriber YouTube channel Scotland History Tours and he’s bringing his Scottish stories to life across Canada this summer. His show Scotland Made the World uses hilarity to highlight how events and people from Scotland shaped the world in which we live. Canada is very much part of that story, and he’ll be driving from Sydney, Cape Bretton in the east to Victoria, BC in the west doing shows in every province he passes through on the way.
He’s also planning to make two videos for his YouTube channel, Scotland History Tours, asking just how Scottish is Canada? Bruce said: “This is the second time I’ve toured a show across Canada, but the last time I flew over the flat bit. This time I’m driving coast to coast (with apologies to my friends in Newfoundland). I plan to make two videos asking how Scottish Canada is. The first will be in Cape Breton as I start and I’ll make another in Victoria to update what I’ve learned along the way. So, if anyone wants to give me their opinion they can email me on [email protected] .”
How key Scottish people have forged the world
As Bruce travels on this transcontinental trip the show will take people on a journey from 15th century Scotland to 20th century North America explaining how key Scottish people have forged the world in which we live today. “Don’t worry there’ll be plenty of jokes to spice up the history, and one or two of them might Indeed be quite spicy.” quipped Bruce.
Bruce’s first show took place at the Highland Arts Theatre in Sydney on 5th June and he’ll finish all the way across in the Victoria Scottish Community Centre on 26th July.
Nominated for comedy awards in Australia and at home in Scotland and even named Scottish Comedian of the Year, Bruce has appeared here in Canada on the CBC series Stuff the British Stole and numerous UK TV and radio shows. He’s also brought acting skills to bear in the Steve Coogan film The Lost King, as well as other UK based productions.
Scotland Made the World will be touring throughout Canada in June and July. Tickets available on the ‘Upcoming Shows’ page of Bruce’s website at: www.brucefummey.co.uk.
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In one of the first and biggest projects of its kind in Scotland, a landscape of more than 1,000 hectares of a globally rare and threatened habitat is being restored near Loch Ness, as part of Britain’s largest rewilding initiative. A partnership of charities, landowners and businesses has joined together to save and repair a connected area of blanket bog – among the world’s rarest habitats – across three neighbouring and diverse landholdings.
It has been facilitated by charity Rewilding Affric Highlands, which coordinates a growing partnership of landowners forming the Affric Highlands landscape. Peatland restoration consultancy Caledonian Climate is providing expert advice and support. The 1,024 hectare-project is being carried out across rewilding charity Trees for Life’s Dundreggan estate, privately owned land at Guisachan, and Corrimony Farm. “This is about restoring a whole ecosystem at landscape scale, with a shared commitment to tackling the nature and climate emergencies and benefitting local communities,” said Stephanie Kiel, Rewilding Affric Highlands executive director.
One of the planet’s most efficient carbon sinks
Boggy pools storing water on peatland. Dundreggan, Affric Highlands. Photo: James Shooter/Rewilding Europe.
Healthy peatlands are one of the planet’s most efficient carbon sinks. They also reduce flood and wildfire risk by regulating water movement, filter and clean water, and support a unique range of wildlife and plants. Scotland contains 13% of the world’s blanket bog – a type of peatland found in only a few parts of the world with cool, wet or oceanic climates. But 80% of the country’s peatlands are degraded, for reasons including drainage, extraction for fuel, overgrazing, and wildfires. Overgrazing and trampling by high numbers of deer, for example, damages the thin layer of vegetation and prevents natural regeneration of bog plants. The exposed peat then dries out and erodes, worsening climate change by releasing rather than absorbing carbon dioxide.
Peat is a black spongy soil, formed from accumulated layers of sphagnum and other vegetation in waterlogged conditions. A single metre of peat can take 1,000 years to form. “Peatlands are amazing, wild places that are being lost worldwide. With our neighbours, we want this initiative to be a beacon of hope and inspiration for restoring blanket bog across Scotland,” said Gwen Raes, Trees for Life’s Dundreggan estate manager.
Pools storing water on peatland at Dundreggan, Affric Highlands. Photo: James Shooter/Rewilding Europe.
Affric Highlands – Britain’s largest rewilding landscape, and a member of Rewilding Europe’s family of major European-wide flagship rewilding landscapes – brings together a coalition of landowners, local people, charities, businesses and others to boost biodiversity, tackle climate change, and create social and economic opportunities. It aims to restore nature across more than 200,000 hectares of the central Highlands, through a linked network of landholdings from Loch Ness to Kintail.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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Centenary Celebration to Honour Pioneers and Attempt World Record at Melbourne Tartan Day Parade on 5th July 2026. All current and former female members of pipe bands are being invited to participate in a landmark event this July. In conjunction with Melbourne’s annual Tartan Day Parade, organisers are calling on female pipers and drummers from across Australia to come together to commemorate a century of remarkable achievements by female musicians.
The event, scheduled for Sunday, July 5, 2026, will celebrate the pioneering women who shaped the world of piping and drumming. In a highlight of the day, all female participants will break off from the main parade to perform a special set of tunes in Melbourne’s City Square at 2.30pm — joining forces in an attempt to set a new world record for the largest ladies’ pipe band ever assembled.
Celebrate the Pioneers
The gathering will mark the centenary of the famed Australian Ladies Pipe Band and its groundbreaking 1925–27 world tour, which captured international attention and set new standards for women in music.
Organisers also aim to honour the early 20th century trailblazers, including the world’s first ladies’ pipe band, founded in Melbourne in 1918.
The event seeks to inspire a new generation, encouraging girls and women to take up piping and drumming and continue the legacy of excellence and innovation.
“This is a unique opportunity to bring together past and present female members of pipe bands to celebrate their invaluable contributions and set a world record right here in Melbourne. We’d also be pleased to hear from relatives of the women who were members of the band who went on tour in 1926” said organisers. Interested participants are encouraged to register and join this historic occasion, which promises to be a stirring tribute to the spirit and achievements of women in music.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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Alan Rankin, Chieftain of the Golden Spurtle World Porridge Making Championship, came joint first with 12-year-old Lucie Roger after the judges struggled to decide on a sole winner. The Championships took place at Taste of Nairn, which is now in its sixth year. Lucie from Forres, who had never made a tattie scone before said: “I had a fantastic time and it was very good, I had a good laugh. I’m really happy that I was joint first place. I never expected that, as I had never tried making a tattie scone before.”
Alan Rankin has praised the organisers for delivering a warm, welcoming, and friendly event in Nairn. “As Chieftain of the Carrbridge based Golden Spurtle World Porridge Making Championships, I know how much dedication and hard work goes into organising a successful food championship. I would like to congratulate and thank the organisers, volunteers, and competitors for creating such wonderful enjoyable atmosphere throughout the day. Both our events are based around our communities relying on support of local businesses, sponsors and volunteers. It was wonderful to see so many people come together to celebrate Scottish food traditions in such a welcoming setting.”
Tattie
Alan’s joint winning dish Tattoaty Scone took inspiration from merging the traditional tattie scone with a mix of roasted oats, rough cut oats and a hint of secret ingredient. Alan added. “We look forward to welcoming the Tattie Scone organisers and competitors to The Golden Spurtle on October 3 in Carrbridge.”
A tattie scone, also known as a potato scone or tottie scone, is a type of savoury griddle scone popular in Scotland. The name “tattie” is Scottish slang for potato, and these scones are made primarily from mashed potatoes mixed with a small amount of flour and butter, seasoned with salt. They are generally thin, unleavened, and soft, often shaped into circles and cut into quarters, called farls, or baked in small rounds.
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In a record-breaking year, the Scottish Register of Tartans netted a brace of designs relating to this year’s men’s football World Cup. 575 tartan designs joined the Register in 2025 – an increase of over 30% on the preceding year and the most ever. Among the new designs, Scotland Can Boogie and Caledonia Dreamin’ were inspired by the Tartan Army’s upcoming trip to America to support the national men’s team.
A new Spirit of Brazil tartan designed by a pupil at Largs Primary celebrated friendship between Scotland and the South American country. And continuing the transatlantic trend, several designs mark the 250th anniversary of the American Declaration of Independence. They include designs inspired by the American Revolution Museum, the Statue of Liberty, and Thomas Jefferson, the third US president.
Tartan in meaningful moments
The Scottish Register of Tartans is managed by National Records of Scotland (NRS). Tartans were also registered to celebrate iconic Scottish landmarks such as the Kelvingrove Art Gallery and Museum, and Edinburgh Castle. NRS Chief Executive Alison Byrne said: “2025 was a remarkable year for the Scottish Register of Tartans, with a 30% increase in new designs. Looking at what’s behind some of the designs — Scotland’s first men’s football World Cup in a generation, and the American Declaration anniversary — it’s clear that people want to include tartan in meaningful moments. Tartan is part of our heritage, and we’re delighted to see designs coming from people of all ages and from all over the world.”
The Scottish Register of Tartans was created in 2008 by the Scottish Parliament as a single independent record, to promote and preserve information about historic and contemporary tartans. The Register ensures that each tartan is new and unique. Hundreds of new designs are registered every year for all kinds of reasons: for families, cultural organisations, sporting clubs, businesses, movies and television shows.
See the Scottish Register of Tartans website for the full searchable database of over 10,000 registered tartans and further information on registering new designs at: www.tartanregister.gov.uk
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The millstones of Preston Mill are grinding again and providing milling demonstrations for the first time in 30 years following a series of conservation works undertaken by the National Trust for Scotland at the site in East Lothian. The current mill structure was built in the 18th century but the earliest surviving record of mill repairs taking place at the site in East Linton dates to 1598. There are indications that a mill might have existed on this site in the 13th century, meaning that oatmeal and other grains may have been milled in this very location for 800 years.
Preston Mill is renowned for its unique lean, which was caused by subsidence of the kiln building that is now supported by external stone buttresses. Made of local volcanic stone, the mill came into the care of the Trust in 1950 and was operated commercially until 1959. The current River Tyne-powered waterwheel was installed in 1909, and following a series of repairs to the waterwheel and sluice, as well as important conservation work to the pit wheel and upright shaft foot bearing; realignment of the millwork; new foot bearings to grindstone-spindles; coating the wooden teeth in the great spurgear; and dressing the French Burr millstones, visitors can now see the mill back in action on tours for the first time in over 30 years.
The catalyst for this work was a generous donor whose initial support made it possible for the project to progress, and it would not have happened without their support. Donor generosity has previously supported Preston Mill when other recent repairs were partially funded by fans of Outlander. Preston Mill featured in the first season of the hit TV series when it was transformed into the mill on the Fraser estate of Lallybroch, which lead character Jamie Fraser repairs while visiting his family home.
Scotland’s industrial and social heritage
Fraser MacDonald, the National Trust for Scotland’s Visitor Services Supervisor at Preston Mill & Phantassie Doocot, said: “Much of the machinery in our mill has been continuously operational and visitors have been able to see our waterwheel turning and many of our drive belts and gears working, but our French Burr millstones have not been in a state to actually grind grain for quite some time. Last year was the 75th anniversary of Preston Mill coming into the care of the Trust and it coincided with a lot of necessary maintenance. Fortunately, we were also able to take this opportunity to address our millstones as well as our other ongoing conservation efforts. The French Burr the millstones are made from is a type of freshwater quartz that is highly prized for milling. Our stones had been separated since the 1990s and were worn completely flat, but the dressing restoration has allowed them to be put back together for milling once again. We also discovered when putting our grindstones together that there was a maker’s plate on the reverse of the stone that had been unseen for about 40 years. The plate was from J. Smith & Son, an Edinburgh millstone maker, which had not been previously noted in our records. It is exciting to still be learning new things about our mill and its machinery.”
This work at Preston Mill also complements similar work undertaken recently at Barry Mill in Angus, where Dorothea Restorations also supported in a project to get the mill grinding again. These projects confirm the Trust’s ongoing commitment to caring for Scotland’s industrial and social heritage, and its support of specialist craft skills across and deploying these experts across multiple locations.
Stuart Maxwell, Regional Director of Edinburgh and East at the National Trust for Scotland, said: “The Trust’s purpose is to care for and share Scotland’s heritage, which includes our industrial history. We know that mills like this one were at the hearts of their communities and at Preston Mill, we tell the story of rural life in East Lothian in the 18th, 19th, and early 20th centuries. Keeping aging machinery like this running takes a lot of time and effort but the revival of milling at Preston Mill is a powerful example of how donor generosity, public funding, and member support come together to protect Scotland’s heritage. With continued investment, these places can keep telling their stories for centuries to come. We hope that visitors will enjoy seeing real milling demonstrations again for the first time in decades and continue to support our vital conservation work.”
Until 31 October, the Preston Mill is open Thursday to Monday for guided tours. Tickets can be booked in advance on the Trust’s website. The shop and exhibition are open Thursday to Monday from 10:00 am – 4:30 pm, see: www.nts.org.uk/visit/places/preston-mill
Images courtesy of The National Trust for Scotland.
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The World’s last seagoing paddle steamer, Waverley, has commenced her 2026 sailing season as the famous ship departed Glasgow to mark 80 years since her launch on the Clyde in 1946.
Crowds gathered on the quayside as Waverley returned to service for her landmark anniversary year, beginning a nationwide programme of cruises which will see the historic vessel sail around the UK coast throughout the 2026 season.
Oban served as the home port for much of TS King George V’s working life.
April marked a significant maritime milestone, exactly 100 years since the launch of the pioneering turbine steamer TS King George V. Launched on 29th April 1926, the much-loved “KGV” became a familiar and cherished sight on Scotland’s west coast, initially serving Inveraray before becoming a mainstay of Oban-based cruising from 1935.
From there, she sailed iconic routes to Mull, Iona, Staffa and Fort William, creating lasting memories for generations of passengers before her withdrawal in 1974.
Now, a century on from her launch, history has come full circle with the Waverley recently recreating these historic sailings, offering passengers the chance to experience the same breathtaking routes once operated by King George V.
The world’s last seagoing paddle steamer
Waverley at her launch October, 2 1946.
During her 80th anniversary year, Waverley will visit destinations across the Clyde Coast, Inner Hebrides, South Cornwall and South Devon, Bristol Channel and South Wales, South Coast and Isle of Wight, North Wales, the Mersey and the Thames Estuary, carrying thousands of passengers aboard Britain’s much-loved paddle steamer.
Paul Semple, General Manager of Waverley Excursions expressed his excitement for the upcoming season: “Today marks the beginning of a very special season for Waverley as she returns to service celebrating 80 years since her launch. Eight decades on, passengers can still experience the unique sights, sounds and atmosphere of travelling aboard a real steamship and we are delighted to see Waverley back sailing after a winter refit which saw a £1.5 million investment in the ship.”
Steam returns to Oban as Waverley echos the routes of TS King George V a century on.
Onboard Waverley passengers can savour the sight and sound of a real steamship – hear the telegraph ring, visit the Engine Room and watch the engine start to move and see the paddles turning through the portholes.
With full catering facilities available throughout all cruises- passengers can enjoy a hot or cold snack, tea and cake in the afternoon, a hot meal in the Dining Saloon or a refreshment in one of the period lounges, as well as a visit to the Souvenir Shop to take home an exclusive gift or memento of their trip on this famous and much-loved ship.
In 2026, Paddle Steamer Waverley marks 80 years since her launch on 2 October 1946. This milestone will be followed on 16 June 2027 by the 80th anniversary of Waverley’s maiden voyage, when she entered service in 1947.
In each of the past three consecutive summer seasons Waverley has attracted over 150,000 passengers reaffirming the affection towards the historic steamer.
Waverley was built in Glasgow for the London and North Eastern Railway, launched in October 1946, and entered service on 16th June 1947.
Waverley is the World’s last seagoing paddle steamer and was gifted to the Paddle Steamer Preservation Society in 1974 for £1.
Since 1975 she has operated in preservation carrying over 6 million passengers, visiting several areas of the UK offering a variety of day, afternoon, and evening cruises. The ship is operated on a ‘not-for-profit’ basis and owned by Waverley Steam Navigation Co. Ltd, a Registered Charity (SC005832).
The steamer is British Registered for up to 750 passengers and is fully restored to her original 1940s style.
Sir Timothy Laurence, husband of Her Royal Highness The Princess Royal, is Patron of Waverley.
A recent independent Economic Impact Assessment put Waverley’s contribution to the UK economy at £11.6 million showing an increase of over 100% on a similar assessment 8 years previous.
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The town of Bundanoon in the NSW Southern Highlands again became Brigadoon recently for this year’s event. It was a terrific day, and the weather was marvellous and the crowds estimated around about 7,000 and including all performers etc close to about 8,000 took part, which is a great result.
The future of drumming. Photo: Lyla Larkin.
The Massed Bands were spectacular, some 29 pipe bands from across the nation performed for crowds with in excess of 550 pipe band performers, it was a magnificent sight. Pipe band members start their day at dawn and finish after the closing ceremony, and they deserve all the accolades that they are given.
2026 Chieftain Frank McGregor. Photo: Barbara Gurney.
The Winner of the Inaugural Steven “Paddo” Paterson Pipe Band shield was the City of Newcastle RSL Pipe Band. Closing ceremony Lone Piper was Andrew “China” Iverson, playing for The Penrith RSL Pipes and Drums.
The Gathering of the Clans. Photo: Barbara Gurney.
The winner of the Heavyweight Championship was Macauley Tinker, he also won the Bundanoon Stones lifting all 5 Stones in 23.92 seconds. This is the first time that any athlete has won both competitions on the same day. The Fiddlers Tent was an outstanding success with the performers also providing ‘pop up’ performances around the grounds. Victor Streicher, aged 3, also won the Bonnie Bairns competition.
Massed bands. Photo: Tessa Peacock.
Congratulations to the Southern Highland Kennel & Obedience Club for their displays and also to Swordplay School of Theatrical Fencing and Stage Combat for their continuous displays during the day.
The 2027 Bundanoon Highland Gathering takes place on Saturday April 3rd. For more details visit: www.brigadoon.org.au
Main photo: Victor Streicher and Fiona McGregor at the Bonnie Bairns competition. Photo: James Bailey.
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First Minister John Swinney recently met the Scotland men’s national team in Glasgow to celebrate the squad qualifying for their first World Cup finals since 1998. The Scotland men’s national side, managed by Steve Clarke and captained by Andy Robertson MBE, will face Haiti, Morocco and Brazil in Group C this month, with matches taking place in Boston and Miami.
The Scottish Government has announced £2 million for a “Summer of Sport” football fund to support clubs across the country to deliver new opportunities for children and young people by using the power of football.
A landmark moment
First Minister John Swinney said: “Football is woven into the fabric of life in Scotland. The men’s team qualifying for the World Cup was a landmark moment, and the reaction to the dramatic win against Denmark illustrated how important football is to this country. Thousands of fans will make the journey to the USA, but the whole country will be right behind the team. The Scottish Government will build on the excitement surrounding the World Cup and Glasgow’s hosting of the Commonwealth Games to deliver new sporting opportunities for young people across the country. Qualifying for the finals is an incredible achievement and I’m very proud of the team – this was an opportunity to recognise and celebrate that success.”
Monday 15 June 2026 has officially been confirmed as a national bank holiday to mark Scotland’s participation in the men’s football World Cup finals. The holiday was proposed by First Minister John Swinney to allow people, businesses and other organisations in Scotland to celebrate after the team’s opening game against Haiti.
Scotland’s World Cup group fixtures:
Scotland v Haiti — Boston, 14 June, 21:00ET/02:00 BST
Scotland v Morocco — Boston, 19 June, 18:00ET/23:00 BST
Scotland v Brazil — Miami, 24 June, 18:00ET/23:00 BST
Main photo: First Minister meets with Scottish National Football Team. Photo: The Scottish Government.
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The late 18th century saw several talented poets emerge from the town of Paisley. Mostly they were working-class men, employed as weavers in what was becoming one of the great thread and fabric centres of the world.
The best-known of these was, of course, Robert Tannahill. Not only is his work still read and celebrated but his name lives on in the popular Scottish traditional music ensemble The Tannahill Weavers.
Alexander Wilson
A Wilson’s Warbler. Photo: Rhododendrites , CC BY-SA 4.0.
However, there were others; Robert Allan, principally a songwriter, Ebenezer Picken and Alexander Wilson. Wilson would achieve some notoriety as a poet, fame in quite another field, yet he would die poor in a far distant country.
Wilson was born in 1766 in Paisley. His mother died when he was ten and he had to begin working on a farm in 1777 when his father married a widow with two children and there were three more mouths to feed. He began as a weaver in 1779, apprenticed to his brother-in-law William Duncan; he was 13.
Wilson had received some education but not much but this didn’t stop him growing and developing and acquiring an interest in poetry. This was especially fuelled by the publication of Burns’ Poems, Chiefly in the Scottish Dialect in 1786. Just as a generation of 60s youngsters heard The Beatles and picked up guitars, the emergence of Burns inspired many Scots to write imitative poetry. Wilson wasn’t the best such poet, but he certainly wasn’t the worst. He published a small collection (unimaginatively entitled Poems) in 1790. He published anonymously a long poem called Watty and Meg in 1792; some assumed it was by Burns himself. It opens as follows:
Keen the frosty winds were blawing,
Deep the snaw had wreathed the ploughs,
Watty, wearied a ‘ day sawing,
Daunert down to Mungo Blue’s,
Dryster Jock was sitting cracky,
Wi’ Pate Tamson o’ the Hill,
Come awa’, quo’ Johnny, ‘Watty Haith
we’se hae anither gill.’
Social justice
Like other Paisley poets, Wilson had a strong sense of social justice and often addressed the plight of working-class people. In 1794 he penned a poem called The Shark, or Lang Mills Detected which was a satirical attack on the Paisley mill owner William Sharp, whom he accused (disguised as ‘The Shark’) of using, no pun intended, sharp practices to exploit his weavers;
Think, thou unconscionable Shark!
For heaven’s sake bethink thee!
To what a depth of horrors dark
Sic wark will surely sink thee
Repent of sic enormous sins…
This poem was also published anonymously but Wilson unwisely tried to blackmail Sharp by offering to suppress the poem for five guineas. He was fined £60, couldn’t afford to pay, and so spent 14 days imprisoned in Paisley’s tolbooth in February 1793.
America
By 1794, Wilson was living in poverty. After being arrested again (for ‘political agitation’) he decided to emigrate to America at the age of 27. He landed in Delaware and walked to Philadelphia where he tried to make a living in his old trade but could find little work and so made the unusual, even for the time, switch into teaching. He taught for five years in Philadelphia before having to scamper off to New Jersey in 1801 after a scandalous affair. He taught for a while in Bloomfield, New Jersey before heading back to Pennsylvania. He taught at Union School near Gray’s Ferry from 1802 until 1806. A near-neighbour was the naturalist William Bartram.
Bartram seems to have identified Wilson’s enthusiasm for nature, especially bird life, a love that comes out clearly in a number of his poems. He encouraged Wilson’s growing interest in birds, and also his ambitions as a painter. Bartram’s niece gave Wilson lessons in draughtsmanship. By 1804 Wilson was expressing his ambition to publish a book recording all the known American species of bird. He started travelling, collecting, recording, observing, painting and acquiring subscribers to fund (‘crowdfund’ essentially) the work. He worked closely with Charles Willson Peale, the founder of the Peale Museum in Philadelphia (one of the first natural history museums in America) and used the ornithological collections there for reference.
He resigned his teaching job in 1806 to become editor of New Cyclopaedia, but the bird volumes were still his focus. Eventually, American Ornithology was published in nine volumes (by the publishers of New Cyclopaedia) between 1808 and 1814. It described 268 species of birds, 26 of which had not previously been recorded in print, and featured 76 plates drawn by Wilson.
The father of American ornithology
An image from the 1832 book American Ornithology by Alexander Wilson, Public domain, via Wikimedia Commons.
On a collecting expedition on the Ohio and Mississippi in 1810 (in his skiff, Ornithologist), Wilson reached Louisville, Kentucky. Here he met John James Audubon who would be inspired to improve upon Wilson’s work. Audubon’s Birds of America was published between 1827 and 1838 in Edinburgh and London. While Audubon was much the better artist, some argued that he plagiarised much of Wilson’s writing and that he had actively tried to suppress American Ornithology in order to promote his own work. Ironically, in Wilson’s home town, Paisley Museum and Art Gallery holds a copy of the four-volume edition of Audubon’s book.
Wilson had become an American citizen in 1804 and in 1812 he was elected a member of the Society of Artists of the United States. The following year he was welcomed into the American Philosophical Society. Yet when Wilson died that same year, he was living in poverty, his great project having taken its toll. His friend George Ord, himself a zoologist of some note, saw the final two volumes of American Ornithology through to publication. Ord also later wrote Wilson’s first biography. Wilson is buried in the graveyard of Gloria Dei Church in Philadelphia.
Wilson is not forgotten at home. His statue stands proudly outside Paisley Abbey while there is a plaque on the former Laigh Kirk (now the Paisley Arts Centre) where he was baptised. He is sometimes referred to as ‘the father of American ornithology’ and there were at one time several species of bird named after him. The American Ornithological society, however, is gradually renaming bird species named after individuals. Wilson’s Warbler, an attractive little yellow bird with a black cap, will be one of these. The bird serves as the logo of the Wilson Ornithological Society in the USA; it publishes the Wilson Bulletin. There is also a Wilson Journal of Ornithology.
Alexander Wilson travelled a long way from the weaving industry in Paisley. Poet, artist, ornithologist, teacher, he packed a great deal into 47 short years of life.
Main image: The statue of Alexander Wilson located in Paisley.
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As the United States prepares to celebrate the 250th anniversary of its Declaration of Independence, students from Heriot-Watt University have been offered an historic opportunity to create a contribution from Scotland. They’re at the heart of a unique project to design the commemorative America-250th tartan, which will be presented in Washington D.C. this summer.
Heriot-Watt University was invited by the Scottish Government USA to create a tartan symbolising the enduring historical and cultural ties between Scotland and the United States. Students from the University’s School of Textiles and Design have presented their ideas to a panel of experts from both countries, who have selected the winning design. The chosen tartan will be revealed in the summer.
Professor Fiona Grant, Executive Dean of the School of Textiles and Design, said: “We were delighted to be chosen for this special assignment to mark the America250 celebrations. It’s a remarkable opportunity to contribute to a project of real cultural – and lasting – importance, while showcasing the breadth of skill, creativity and innovation that define Heriot-Watt’s School of Textiles and Design.”
The long and historic ties between the United States and Scotland
The initiative gives international exposure to Scotland’s emerging textile designers, linking their work to a globally recognised commemoration. It also provides an opportunity for Scottish Government USA to promote Scotland’s strengths in creativity, heritage, higher education and design to audiences across the United States. Mark Boyce, Acting Head, Scottish Government USA said, “The 250th anniversary of the Declaration of Independence is a moment to reflect on the long and historic ties between the United States and Scotland. A commemorative tartan is the perfect symbol of this interwoven relationship that continues to thrive through trade, education, culture and diaspora. We are delighted to bring this opportunity to the students at Heriot-Watt University, who are developing skills and creativity to help secure the future of Scotland’s unique tartans and textiles.”
The chosen design will be registered with the Scottish Tartan Authority as the official commemorative tartan for the America-250th organisation. An initial commemorative run will be produced at Lovat Mill in the Scottish Borders, with the winning student then travelling to Washington D.C. to formally present the tartan from Scotland to the USA. Each submission had to meet specific evaluation criteria. These include the historical and cultural relevance of the tartan design, the creativity and originality of the pattern and supporting narrative, as well as the design’s public appeal and potential for ceremonial and commercial use. Colour palette, warp and weft all contribute to the narrative conveyed, combining tradition with contemporary storytelling.
The tartan project is part of a wider programme of activity around America-250th and the America-Scotland relationship. Scotland has played a part in shaping America’s history, with many of the Founding Fathers and signatories of the Declaration of Independence of Scottish descent. Scottish immigrants also contributed to the development of American governance, industry and education. Lovat Mill in Hawick is an established partner of Heriot-Watt University’s School of Textiles and Design. It regularly provides placements for fourth year weave students and hosts tours of the mill for students from the school.
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Ireland’s leading folk group, The High Kings, are set to excite fans once again with the announcement of their Rocky Road Tour 2026, which includes Australia in October.
As global ambassadors of Irish and Celtic heritage and storytelling, The High Kings have consistently brought the timeless tradition of folk music to audiences worldwide, earning them chart-topping success and widespread acclaim.
With their signature blend of classic tradition and modern edge, The Rocky Road Tour promises to be a vibrant showcase of Irish culture, energy, and musicality.
Following a record-breaking 2024 – including a sold-out world tour, a feature on Disney’s critically acclaimed Only Murders in The Building, and over 5 million weekly streams – the band are showing no signs of slowing down.
Their momentum continued in 2025 with a string of sold-out U.S. tour dates, culminating in a headline performance at the legendary Troubadour in Los Angeles on March 23rd, after stops in Kansas, Nashville, St. Paul, St. Louis, New York, New Hampton, Glen Ellen, Ridgefield, Alexandria, and more.
Storytelling, musicianship, and connection
But it was their inclusion on the soundtrack of Sinners—the current #1 movie worldwide, starring Michael B. Jordan and directed by Ryan Coogler—that marked a defining moment in their global recognition. The film’s soundtrack, already topping international streaming charts, was curated by Oscar- and Grammy-winning composer Ludwig Göransson (Oppenheimer, The Mandalorian, Black Panther), a long-time admirer of The High Kings’ distinctive vocal blend and musicianship.
After attending their sold-out show at The Troubadour in Los Angeles earlier this year, Göransson selected two tracks—The Rocky Road to Dublin and Go Lassie Go—to feature prominently in the film’s score.
The Rocky Road Tour 2026 will build on this global success, offering audiences a high-energy live show that reinforces The High Kings’ place at the forefront of Irish folk. With a renewed focus on storytelling, musicianship, and connection, the tour reflects the group’s ongoing commitment to honouring Ireland’s folk legacy while pushing creative boundaries.
As well as their recorded music triumphs, The High Kings have performed for hundreds of thousands across the globe and graced prestigious stages including Glastonbury Festival, The Isle of Wight Festival, Times Square, NYC, Trafalgar Square, London (St. Patrick’s Day) and many more/ Their live television appearances have spanned the U.S., with performances on Good Morning America, Good Morning LA, The View, and The Today Show.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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The 2026 Holland Waterfront Celtic Festival & Highland Games returns June 26 & 27 at the Ottawa County Fairgrounds in Holland, Michigan. Sponsored by Guinness the festival, located two minutes from the white sand beaches of Lake Michigan was developed in 2022 by the Holland Celtic Society, a new 501(c)(3) non-profit cultural, heritage and educational organization the festival is dedicated to sharing Irish, Scottish, Welsh, and other Celtic heritage with the community in a fun, spirited, and celebratory way.
The festival is open from 4:00 PM to 11:00 PM on Friday, June 26 with four bands on stage for a 7 hour-long 25 & older “Ceilidh” featuring music, dance, food, and vendors.
All day festival for all ages
Sheep herding.
Saturday’s all day festival is for all ages, from 9:00 AM to 11:00 PM with 13 more bands on stage, along with pipe and drum bands, 60 athletes competing in Highland Games, Scottish Clans, Irish & Scottish dance groups, Celtic genealogy assistance, a dozen food trucks/tents, two dozen Irish & Scottish retail vendors, a children’s area, tomahawk throwing, and an on-site Irish Pub. Bands on the schedule for 2026 include Albannach, Mudmen, Crossbow, Brother Crowe, Whorled and ten others.
New for 2026 is a display of Scottish Highland cattle! These cows, or “Coos” are a huge attraction for adults and kids. Also, this year, we will feature demonstrations of border collies herding sheep.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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‘Time, the deer, is in the wood of Hallaig’. So begins perhaps the most enduring and resonant poem by Somhairle MacGill-Eain (Sorley MacLean), dwelling in a place lost to the Clearances. No other animal than the deer could have carried the weight of this vision.
For thousands of years in Scotland deer have been seen as a potent embodiment of the natural, and indeed the supernatural, world. They appear as heraldic emblems, millennia-old carvings, iconic paintings such as The Monarch of the Glen, and in countless folkloric tales of grand hunts and encounters with the unknowable. Even now, the vision of a deer appearing in a back garden or bounding in a field beside a motorway evokes a sense of calming wonder in many people.
Some of the earliest people in Scotland to leave an archaeological record were intimately intertwined with deer. Deer bones and antlers are commonly found within Mesolithic middens, Neolithic chambered cairns, and Iron Age brochs. Not all can be explained by their utility as sources of protein and tools. Bones from 36 red deer were found within the Knowe of Yarso in Rousay, Orkney, where ancient tribes seem to have identified themselves in part by their affinity for certain animals. At Dun Mor Vaul, an Iron Age settlement in Tiree where there has never been a large deer population, a highly atypical proportion of deer remains were found, suggesting a possible special significance for local people which they expended great effort to maintain.
Deer are the only animal to appear on prehistoric decorated pottery from the Hebrides, where wolves, golden eagles, dolphins, and other suitably totemic animals roamed. Even more remarkable is their abundance in Neolithic rock art. There are only nine known examples of prehistoric figurative rock art depicting animals in Britain, and almost all of them include or exclusively feature deer. Clearly, these animals loomed very large in peoples’ imaginations and lived experiences.
Two of these depictions of deer are in or near to Kilmartin Glen in Argyll, a place I have explored in several past articles. Deep in Glen Domhain on a low stone beside a burn is a lightly carved image of an almost cartoonish deer, its pointed ears, big eyes, and tuft of a tail looking straight out of a Pixar animation. It likely dates from the Iron Age and is thought to mark the boundary between two kindreds, or possibly even between the Gaels of Argyll and the Picts of the central Highlands.
The other was discovered by chance in 2020 by Hamish Fenton on the underside of a capstone in Dunchraigaig Cairn, an Early Bronze Age burial chamber in Kilmartin Glen. There are five deer altogether, a pair and a trio, the most striking of which is the aptly named ‘Fabulous Stag’ with its massive antlers. Some of the deer appear to be in motion, as if climbing up a slope. The carvings were almost certainly made when the capstone was upright in the landscape, perhaps in the form of a standing stone which was then incorporated into a later funerary monument. Just like how people today display antiques in their homes, past peoples regularly incorporated older elements into their domestic and ritual spaces.
Of the nine known examples of deer in prehistoric British rock art, five are in Scotland. Besides Kilmartin Glen and Glen Domhain, they appear at Ballochmyle in Ayrshire, Eggerness in Dumfries & Galloway, and on the outer wall of a rock shelter on Blackford Hill in Edinburgh. Deer are pivotal in many of the oldest and best-known tales of the Celts, in which an encounter with a deer often heralds contact with the Otherworld. They are strongly associated with the Cailleach, a creation goddess in the folklore of Scotland, Ireland, and the Isle of Man who brings winter to the land and keeps nature in balance. Deer feature in many tales of the Fianna, which people across the Highlands and Islands held in great esteem. In one tale the deer-mother Saba mates with the great Finn mac Cumhaill (Finn MacCool) himself, bearing his two sons Oisín (Ossian) and Oscar. Oisín was the most gifted of all in the sacred art of poetry, a talent attributed to his unconventional parentage.
The appearance of a white hart – a deer with leucism – was a revered symbol in the Middle Ages. Catching sight of one could mean that the favour of God was upon the witness, or in the case of Arthurian lore that it was time to embark on a new quest. Thomas the Rhymer, the famed Borders prophet, was recalled into the land of the Elfen Queen beneath the Eildon Hills by the appearance of a white hart and hind in his village. Many pubs across Britain, including one in Edinburgh’s Grassmarket, are named ‘The White Hart’.
The location of Holyrood Abbey in Edinburgh is attributed to King David I’s pursuit of a white hart into Holyrood Park. Despite it being a Sunday feast day the king set out to capture it, but it charged him and threw him from his horse. As David I was about to be gored by the furious hart the Holy Rude (true cross) appeared in the sky, scaring the hart away. Later that night David I was visited in a dream by St Andrew who instructed him to build an abbey near that fateful spot as penance.
Many noble houses in the Middle Ages used deer – typically stags – in their heraldic emblems. Among them, to name but a few, are the crests of Fraser of Lovat, Clan Davidson, Clan Forbes, Clan Keith, and Clan Carruthers. Returning to Kilmartin Glen, the main landowners from the 18th century through today, the Malcolms of Poltalloch based at Duntrune Castle, use deer imagery on their crest, and the gate leading onto the castle grounds is adorned with
Deer forests
Our view of deer changed during the Industrial Revolution through Edwardian period when land previously used as commons were enclosed, people were evicted, and hunting estates were established. Deer, especially red deer, proliferated due to the extinction of large predators such as wolves in the 18th century, and many estates in the Highlands and Lowlands alike became ecological deserts given over entirely to hunting.
In 1811 there were only six ‘deer forests’ for hunting in Scotland; by 1912 there were over one hundred, covering a staggering 3.6 million acres. During this time, and still today, many people consider deer to be either a pest to be controlled or a product to be sold as part of the sporting estate package. No country house of this time was complete without a room displaying dozens, if not hundreds, of taxidermied specimens mounted on the walls attesting to our near-total domination of the countryside.
The history of peoples’ relationship with deer in Scotland can be read as shorthand for our changing views of the natural world. Prehistoric peoples saw great wonder in them, using deer totemically while also hunting them for meat and harvesting their sinews and antlers for daily tools and rituals. In the Middle Ages deer were often used in the foundational stories of saints and dynasties, becoming symbols connected with spiritual and secular power in an age of increasing hierarchies in society. In the age of enclosure and early modernity, deer lost much of their symbolic potency and became to many instead a mere resource to be exploited and profited from. Today, as the natural world is in dire peril and our connection to it weakens further still, deer are regaining some of their lost wonder – fleeting remnants of a world just beyond our own, sometimes fenced in but never fully domesticated. Next time you see one, ask what we might do to rebalance the scales.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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The Northumberland Scottish Festival & Highland Games proudly announces its 62nd annual celebration, set to take place at the scenic Port Hope Fairgrounds on June 19 & 20 2026.
Renowned as one of Canada’s premier Scottish cultural events, the festival promises a vibrant weekend filled with music, dance, athletic competitions, and family-friendly activities that honour both tradition and community spirit. Attendees will experience the stirring sounds of pipe bands, traditional Highland dancing, and the excitement of heavy events such as caber tossing and hammer throw.
Local vendors will offer Scottish fare and artisanal goods, while clan tents welcome visitors seeking to explore their heritage. The young ones will enjoy the Wee Highlander area with a jumping castle, face painting, sword fighting lessons and caber toss lessons.
The festival is committed to fostering inclusivity and cultural appreciation, welcoming guests from across Northumberland County and beyond.
Scottish culture and Canadian hospitality
Heavy events on display.
This year’s festivities feature performances by internationally acclaimed pipers, dancers and heavy event competitors. Saturday afternoon you can experience the inaugural Lakeshore Open Highland Dance Championships. Friday night there is a free Ceilidh with The Fiddleheads, Saturday night with Irish Millie and Madman’s Window.
Whether you’re a seasoned Highland Games enthusiast or a first-time visitor, the 62nd Northumberland Scottish Festival offers an unforgettable experience rooted in Scottish culture and Canadian hospitality. Join us in celebrating the enduring legacy of Scotland in Northumberland County!
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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The private apartments used by Queen Elizabeth II when in residence at the Palace of Holyroodhouse, the official residence of the monarch in Scotland, will open to visitors for the first time in 2026 to mark the centenary of her birth.
Available only this year, the tours will run for 100 days and will see small groups taken behind the scenes by expert guides to discover the history of the rooms and learn how they were used by Queen Elizabeth II and Prince Philip, Duke of Edinburgh, during her 70-year reign.
Setting for many significant occasions
The private apartments used by Queen Elizabeth II. Photo: David Cheskin.
The Palace of Holyroodhouse was the setting for many significant occasions during the late Queen’s reign. While visiting Edinburgh to meet and celebrate Scots from all walks of life, she and Prince Philip would occupy a suite of private rooms on the Palace’s east side, with stunning views of the gardens and Holyrood Park. These modestly decorated rooms offer a rare glimpse into the personal, ‘lived-in’ spaces used during private moments between official duties. The rooms date from the 17th century and have been used by successive monarchs and members of the Royal Family since Queen Victoria’s reign. They are furnished with historic objects from the Royal Collection, as well as pieces from Queen Elizabeth and Prince Philip’s personal collections, many of which reflect their longstanding affection for Scotland.
Tours will take visitors through rooms and spaces including the Royal Breakfast Room, where the Queen and Prince Philip would dine privately while in residence. The room is hung with magnificent Flemish tapestries, woven around 1650, featuring a beautiful design of a pergola framing an ornate vase filled with flowers. The tapestries were hung in the room in the 1920s at the request of Queen Elizabeth’s grandparents, King George V and Queen Mary.
In the Dressing Room, giving a sense of how the Queen would prepare for official engagements, visitors will see three ensembles from her wardrobe, each worn during a significant occasion in Edinburgh. For the official opening of the Scottish Parliament on 1 July 1999, the Queen wore a purple coat made of a silk-wool blend with a green silk-crepe and lace dress, and a shawl of purple and green Isle of Skye tartan, woven on the Island of Lewis. The ensemble was inspired by the Scottish landscape and reflects the designer Sandra Murray’s interest in her Scottish heritage. The matching hat, by the milliner Philip Somerville, is trimmed with a bow of the silk-wool fabric of the coat and curled dark-green feathers.
Edinburgh’s royal palace
The Queen’s outfit from the opening of the Scottish Parliament.
The tours will conclude in the Sitting Room where the late Queen would work, reviewing the papers and documents presented in the Government red dispatch boxes, as well as using the room for private audiences or resting between engagements, often while watching horseracing on television.
Prince Philip was an enthusiastic collector of contemporary Scottish art and served as Patron of the Royal Scottish Academy of Art (RSA). Throughout the rooms, visitors will see highlights from his private collection, including works by 20th century Scottish artists, acquired over four decades at the RSA’s annual exhibitions and reflecting his deep appreciation of Scotland’s landscapes and wildlife.
The rooms are also furnished with a remarkable collection of furniture from the Royal Collection, made by the Edinburgh firm of Young, Trotter and Hamilton. The pieces were supplied to the Palace in 1796 in preparation for the arrival of Charles-Philippe, Comte d’Artois – Marie Antoinette’s brother-in-law and the future Charles X of France – who took refuge at the Palace during the French Revolution. Emma Stead, Curator, Palace of Holyroodhouse said: “Queen Elizabeth II’s well-known love for Scotland will be given fresh context through this unique and special access to the private apartments, where visitors will enjoy a new perspective into both the formal and more informal use of Edinburgh’s royal palace.”
After their tour of Queen Elizabeth II’s private apartments, visitors can explore the rich history of the Palace of Holyroodhouse, including the magnificent State Apartments and the historic apartments of Mary, Queen of Scots.
Queen Elizabeth II Private Apartment Tours will run daily from 21 May to 10 September 2026and can only be purchased with a ticket to visit to the Palace of Holyroodhouse. Visitor information and tickets: www.rct.uk, +44 (0)303 123 7300.
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The Scottish Dance Society presents the 7th annual Bellingham Scottish Gathering on Saturday June 6, 2026. Spectacular Marine Park in Blaine, Washington has unrivaled natural beauty. Surrounded by the Salish Sea, the park affords views of Mount Baker and the Peace Arch border crossing into Canada.
The Scottish Gathering features the City of Bellingham Open Highland Dancing Championship and a full slate of competitive dance events for young beginners to adults.
Championships are the highest level of competitive highland dance and sanctioned by the Royal Scottish Official Board of Highland Dancing, the World-Wide Governing Body based in Edinburgh, Scotland.
The prestigious event includes the four traditional Highland dances performed by top-level competitors.
A celebration of Scotland’s culture
New this year, the ‘Fabric & Fibers of Scotland Contest” promoting the use of Scottish textiles in garment construction and exposes festivalgoers to the variety of wool fibers, yarns and fabrics originating in Scotland.
The Scottish gathering often offers Scottish-breed animals in educational and fun displays.
2026 is the year of the Clydesdale with the magnificent Katelyn joining the festivities. Celtic musicians entertain around the beer garden while Scottish clan and vendor booths offer information and goods for sale.
The day is a celebration of Scotland’s culture with something for everyone to enjoy in a beautiful outdoor venue.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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In the historic East Lothian market town of Haddington, where the first recorded mention of town pipers dates back to 1542 and a 15th century carving of a piper graces St Mary’s kirk, the musical heartbeat of piping and drumming has been part of local life for centuries. Yet it was only in the early 1980s that the modern incarnation of Haddington Pipe Band took shape under a formal name and structure. That initiative sparked a journey that would extend far beyond its borders and resonate with Scots and many others at home and abroad.
What began modestly in 1981 – when four friends abandoned fancy dress performances as the ‘Tyneside Tipplers’ to establish a ‘proper’ band – has blossomed into an organisation celebrated not merely for its musical talents, but for its cultural reach, community spirit, innovation, and international bridge-building.
Roots in community and tradition
A photo staged for one of the band’s memorable calendars. Photo: Nick Callaghan.
Haddington Pipe Band describes itself first and foremost as a community band dedicated to encouraging the art and tradition of piping and drumming. Open to all ages and skill levels, it runs a structured tuition programme that nurtures young pipers and drummers alongside more seasoned players. Rather than pursuing competition circuits, the band has chosen a different path – one that prioritises cultural engagement. Band members regularly perform at local galas, festivals, weddings, charity events, dances, parades, and markets, embedding the sound of the pipes deep into the everyday life of East Lothian and beyond.
Over the years, engagement with local schools and collaboration across generations – from teenagers to octogenarians – has kept the tradition alive and evolving, fuelling a pipeline of young talent that carries the echoes of Scottish heritage into the future.
Celebrating Scottish musical heritage
In a proud tradition of cultural leadership and innovation, the band has spearheaded events that extend beyond performance alone. One standout moment came back in 2009, a year the band affectionately refers to as their ‘annus mirabilis’. The band organised a worldwide competition to compose a pipe anthem for East Lothian. Composers from across the globe sent in entries, and the winning tune – The Haddington Turnpike, by Bruce Thomson – was performed live in front of a large local audience. The tune has become the band’s signature tune and went on to achieve high recognition when it was included in the bible of outstanding pipe tunes, the Scots Guards Standard Settings of Pipe Music collection.
The band didn’t stop there. They brought together local bands in a series of massed band events to showcase this new anthem and the breadth of piping talent in the county, culminating in multiple awards at the Scottish Event Awards and – in a remarkable accomplishment – winning Scottish Pipe Band of the Year at the Scots Trad Music Awards in 2009, beating top-class competing outfits despite being a non-competitive community band. This focus on inclusion and celebration of Scottish musical heritage reflects a deep cultural confidence – a willingness to define success not by trophies but by community engagement and creativity.
International footsteps
Performing in 2025 with the Aubigny-sur-Nère band under the shadow of Haddington’s St Mary’s Kirk. Photo: Daniel Hogarth.
Haddington Pipe Band hasn’t confined its influence to local shores. In addition to visits to, among other destinations, China and Germany, the band has maintained a thriving cultural link with Aubigny-sur-Nère, Haddington’s twin town in France. What began as a goodwill visit soon grew into a tradition of reciprocal performances and cultural exchange. The band regularly travels to Fêtes Franco-Écossaises, where crowds numbering tens of thousands gather in the historic French town to celebrate Scottish-French heritage through music, dance, and community spirit.
In turn, the Aubigny pipe band – whose very existence was sparked with Haddington’s encouragement – has performed in Scotland, joining forces with their Scottish counterparts in shared performances that honour the Auld Alliance between the two communities and nations.
These exchanges reveal a remarkable truth: Scottish culture – distilled in the haunting resonance of the pipes – travels not only across sea but through hearts, reinforcing diasporic ties and reviving old alliances. For many Scots abroad, stories of gatherings like those in Aubigny become bridges back to home.
Connecting to wider audiences
Photo: Nick Callaghan.
While rooted in community, Haddington Pipe Band has consistently stepped onto stages that connect Scottish tradition with wider audiences. They’ve organised award-winning traditional music festivals (Trad on the Tyne) and concerts, performed at Edinburgh’s Usher Hall, supported the Scottish Fiddle Orchestra in end-of-year concerts, and taken part in significant civic events like remembrance parades, torchlight processions, and memorial commemorations.
Perhaps most importantly, their performances at hospitals and charitable events underscore a belief in the positive power of music, bringing joy to children and communities alike.
A thriving tradition
Band members at the Scots Music Trad Awards back in 2009, when the band won the Scottish Pipe Band of the Year award. Pipe Major David Leckie with the trophy.
For the Scottish diaspora, the story of Haddington Pipe Band is more than local history. It’s an affirmation of how tradition can thrive when it opens itself to exchange and innovation, celebrates community, and never forgets its roots. It’s not merely the sound of drones, chanters, and drums that travels; it’s the spirit of Scotland – resilient, generous, and joyful – carried by each performance, each shared tune, and each gathering where the pipes and drums fill the air with stories of home and carry forward a mightily significant facet of Scotland’s culture.
Main photo: The band at Aubigny-sur-Nère, led by Pipe Major Fraser Wilkinson, playing for the crowds at the 2025 Fête Franco-Écossaises. Photo: Nick Callaghan.
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The 2026 Berry Celtic Festival will take place on Saturday 23 May. The day commences at 9.30am with the Grand Street Parade down the main street of Berry, leading to the Berry Showground for a breathtaking massed band performance to officially launch a day packed with Celtic fun, music, and culture.
Enjoy family-friendly action including pipe bands, jousting knights, medieval re-enactments, Highland Muscle competitions, traditional artisan displays, Celtic themed market stalls, Celtic dancing and musicians, plus all the colour of the clans.
The bands in this year’s line-up include: NSW Police Pipe Band, Illawarra Pipe Band, Ingleburn RSL Pipes and Drums, Shoalhaven City Pipes and Drums, Canberra Celtic Pipe Band, Penrith RSL Pipes & Drums, Goulburn Soldiers Club Pipe Band, St George – Sutherland Pipe Band, Sydney Thistle Highland Band, PLC Sydney, Bundanoon Pipe Band and Kiama Pipe Band.
The 2026 Berry Celtic Festival will take place at Berry Showground in Berry, NSW.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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The once infamous ‘Highland Hotel Robbers’ are among Victorian prisoners whose records are now online. Scotland’s People, the official site for Scottish government records, has published details of more than 100,000 inmates from Ayr and Inveraray jails.
In the summer of 1883, American James Edward Lyon and his young accomplice Eliza Thorpe targeted well-to-do guests in fancy hotels from Argyll to Aberdeenshire. Cash, jewellery and other valuables went missing and Lyon and Thorpe just always seemed to be around when it happened.
Eliza Thorpe. Photo: Crown copyright National Records of Scotland.
The pair who travelled as man and wife were arrested at a hotel in Edinburgh. Their associate Joseph Dowling was caught red handed with some of the stolen items.
At their trial the men were convicted but the case against Thorpe, who was 20 years old, was found not proven. Lyon was sentenced to seven years. Photographs of Lyon, Thorpe and Dowling were kept in an album of interesting cases by the local procurator fiscal.
Prison registers are a rich source of information
Inveraray Jail. Photo: Inveraray Jail Museum.
Their entries in the registers for Inveraray prison are among 4,600 for that jail now on Scotland’s People. Men, women and children were incarcerated at the jail in the 19th century. The youngest was seven-year-old James McCulloch who was caught stealing, the oldest 82-year-old Ann Kerr found guilty of “vagrancy”.
The newly published records also include 98,000 entries from Ayr Prison from 1841 to 1911. Notable prisoners included murderers Joseph Calabrese, Thomas Bone and Mary Boyd. All of them were sentenced to death and all spared.
James Lyon. Photo: Crown copyright National Records of Scotland.
Archivist Veronica Schreuder said: “Prison registers are a rich source of information for social researchers and family historians alike. While it can be a shock to find an ancestor in prison, it can sometimes lead to details that are unlikely to have been preserved for most people. Finding out the colour of their hair, details of their health or whether they could read or write can turn a name and some dates into a much more rounded person. And of course, if they have committed a serious crime, it can explain a lot about the decisions of other relatives such as moving area, changing a name or simply never talking about them.”
The new additions mean there are now over 400,000 historical prison records available to search on Scotland’s People. This includes the old Edinburgh prisons, Barlinnie, Perth and Largs.
Histories of both prisons and more on the cases highlighted in this story are available at Scotland’s People: www.scotlandspeople.gov.uk
Main photo: Eliza Thorpe and James Lyon. Photo: Crown copyright National Records of Scotland.
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Twenty years isn’t a long tenure when hosting ancient events, but the Greater Moncton Highland Games & Scottish Festival has made its mark in just two decades. The event gained international acclaim in 2022, becoming only the second Canadian event to host the Masters World Championship in heavy athletics.
In 2026, as it marks its 20th annual event, the Greater Moncton Highland Games & Scottish Festival will again make its mark in the field of heavy athletics, becoming the first Highland Games in Canada to host every championship division of the Canadian Scottish Athletic Federation (CSAF).
The 20th annual Greater Moncton Highland Games & Scottish Festival takes place June 9 – 13, 2026, with a series of free community concerts throughout the region. It culminates on Saturday, June 13, with a day-long celebration that blends heritage sports, music, culture, agriculture, and community.
One of Atlantic Canada’s signature summer events
While elite competition will be a major draw, with the 2026 CSAF Men’s Masters Championship on site, the heart of the festival remains its support of local Scottish culture. The day includes highland dance competitions, pipe and drum solo events and pipe band competitions, HEMA sword fighting competitions, the growing 5K Tartan Fun Run, agricultural demonstrations, clan tents, bouncy castles, wagon rides, food vendors, and activities for all ages.
The Ceilidh Tent and community concerts showcase local performers, including Lupin, RCMP Pipes & Drums, Sons of Gael, Fingal’s Rant, Sara & James Nelson, Patricia Murray, Prosser Brook, Dahliah Ave, Farraige, and Corsa.
Organized by the Greater Moncton Scottish Association, the festival has grown into one of Atlantic Canada’s signature summer events. In 2025, attendance climbed to several thousand visitors, more than doubling previous numbers as families, competitors, and visitors from across the region and beyond took part.
For longtime supporters, it is a chance to celebrate how far the festival has come. For first-time visitors, it is an open invitation to discover why the Greater Moncton Highland Games has become a highlight of the region’s summer calendar.
Twenty years in, the tradition is only getting stronger, with some exciting plans for 2027.
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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One of the UK’s oldest heritage societies has launched a global £1.5 million campaign to secure a permanent home in Edinburgh, with a deadline of January 2027 to complete the purchase. The Society of Antiquaries of Scotland, founded in 1780 and incorporated by Royal Charter in 1783, is seeking to buy a B-listed property on a site within Edinburgh’s UNESCO World Heritage Site that was once part of the historic southern gateway to the city. The building has been offered to the charity at a fixed price if purchased by January 2027. The Society is contributing £600,000 from its own investments and must raise the remaining £1.5 million.
For nearly 250 years, the Society has supported archaeological and historical research. Its early Fellows contributed collections that formed the foundation of the Scottish history and archaeology galleries for the National Museum of Scotland. Today it connects more than 2,700 Fellows across six continents and reaches millions of people annually through media and digital channels, including recorded lectures and open access publications.
Scotland’s first national heritage hub
Despite this historic role, the Society currently operates from an inaccessible top-floor flat within the National Museum of Scotland complex which limits its ability to engage with the public and collaborate across the sector. The project would establish Scotland’s first national heritage hub. Here, academics, visitors and anyone curious about Scotland’s past can explore their heritage and engage directly with the work of protecting Scotland’s history.
The campaign carries added significance as the Society approaches its 250th anniversary in 2030. Diana Murray CBE HonFSAScot, President of the Society of Antiquaries of Scotland, said: ”For centuries, this small corner of Edinburgh has been a gateway to Scotland’s past. We now have a rare and time-limited opportunity to secure this building and open our doors properly for the first time in our modern history, ensuring that Scotland’s past belongs to everyone, at home and across the world.”
Dr Simon Gilmour FSAScot, Director of the Society of Antiquaries of Scotland, added: “This is a once-in-a-lifetime alignment of opportunity, affordability and historic significance. The building sits at the very heart of Edinburgh’s cultural quarter, beside the National Museum of Scotland, within a UNESCO World Heritage Site, in an area attracting more than ten million visitors a year. We invite everyone who cares about Scotland’s past to help us secure it.”
Architectural and historic significance
Located on the corner of Bristo Port and Bristo Place, this B-listed property holds special architectural and historic significance, standing on ground that has witnessed more than five centuries of Scottish history. Bristo Place was once the southern gateway into Edinburgh, entered through Bristo Port, a fortified arch built in 1515 as part of the Flodden Wall. In 1503, Margaret Tudor entered the city here through a grand Renaissance arch to marry King James IV, marking the Treaty of Perpetual Peace between Scotland and England. Nearby, in 1638, the National Covenant was signed at Greyfriars Kirk, another turning point in the nation’s story, and later the doomed Darien project was directed from a house on Bristo Place.
The Society of Antiquaries of Scotland is an independent membership charity which actively supports the study and enjoyment of Scotland’s past. The Society’s purpose is “to investigate both antiquities and natural and civil history in general, with the intention that the talents of humanity should be cultivated and that the study of natural and useful sciences should be promoted.”
Professor Ewan is Professor Emerita of Scottish Studies and History at the University of Guelph and one of Canada’s leading authorities on Scottish and medieval history and has been a Fellow of the Society since 1985. She said: “From Canada I have seen first-hand how deeply Scotland’s history runs in people across the world. The Society of Antiquaries of Scotland has been at the heart of Scottish historical scholarship for nearly 250 years, connecting researchers and heritage enthusiasts across the globe. A permanent home would transform what the Society can offer to that global community.”
Dr Lorna Barrow FSAScot, Fellow of the Society of Antiquaries of Scotland, editor of the Journal of the Sydney Society for Scottish History, former researcher on the Australian edition of Who Do You Think You Are?, and recipient of the Celtic Council of Australia’s Duine Urramach award for services to Scottish heritage, said: “Scotland’s story belongs to people on every continent and nowhere is that truer than here in Australia where Scottish heritage runs deep in our national story. Helping the Society of Antiquaries of Scotland secure a permanent home is something the global Scottish community should rally behind.”
Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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In June 2026, the grounds of Scone Palace—long regarded as the spiritual heart of Scottish kingship—will once again echo with the clash of arms. This time, however, history is not simply being remembered; it is being lived anew. Among those taking the field is Andrew McKinnon of New South Wales, Australia: an armiger of Clan MacKinnon, his arms granted by the Court of the Lord Lyon, and serving as Gillie Mòr (swordbearer) for the clan.
He has been invited to compete in a full-contact medieval tournament on 20–21 June, representing Australia alongside fellow New South Welshman Rodney Deaman. Their opponents are not merely other competitors—but history itself.
Where kings were crowned
Australian representative Rodney Deaman.
Few locations could be more fitting. Scone Palace stands near the ancient Moot Hill, where Scottish kings—including Robert the Bruce in 1306 and Charles II in 1651—were crowned upon the Stone of Destiny. Centuries later, the same ground will host a different kind of coronation: not of kings, but of courage, skill, and living tradition.
At the heart of the tournament lies something far rarer than sport: a true interclan contest. Not since the Battle of Mulroy in 1688—fought between MacDonald of Keppoch and Clan Mackintosh—have Scottish clans met in formalised combat. In that final clash of the old clan era, Clan MacKinnon stood alongside MacDonald of Keppoch.
Representing Scotland Jane de Bleu.
Now, 338 years later, Clan MacKinnon once again takes the field—this time against Clan Murray. Representing Clan Murray is Roy Murray, serving as Gillie Mòr for his clan and fighting on home soil. Opposing him, Andrew McKinnon carries both the weight of his lineage and the distinction of representing Australia in what is believed to be the first international jousting contest between Australia and Scotland. Rounding out team Australia is Rodney Deaman, a highly experienced international competitor. Roy Murray’s teammate for Scotland will be experienced horsewoman Jane de Bleu. History, it seems, has come full circle.
The tournament will feature two principal disciplines:
The joust—the thunder of hooves, the splintering of lances, and the timeless test of nerve and precision.
Ground combat with poleaxes—a demanding and highly technical form of armoured fighting, requiring strength, control, and tactical awareness at close quarters.
For McKinnon and Deaman, this is not theatre, but the culmination of years of training in historical martial disciplines—where authenticity is matched by athleticism.
A clan story renewed
Andrew MacKinnon.
For Clan MacKinnon, the symbolism runs deep. To have stood in the last interclan battle of the old era, and now to take the field in the first of a new one, is a rare and powerful continuity. It speaks not only to heritage, but to resilience—the enduring identity of a clan whose story has crossed both centuries and continents. From the Hebrides to New South Wales, and now back again to the ancient seat of Scottish kings, the journey is as meaningful as the contest itself. “I am proud to represent both Australia and Clan MacKinnon. I feel a deep calling to serve the betterment of our Clan. Though small, we have achieved remarkable things throughout history, and I am in a unique position to win new renown for the MacKinnon name. Cuimhnich bàs Alpein.”
History, as the clans have always known, is not something left behind. It is something carried forward—into the field, and into the fight.
Beyond the tournament, this moment marks the beginning of a broader storytelling journey. Andrew McKinnon’s participation will form part of The Bard & the Blade, a developing series exploring Scottish history through lived experience—where scholarship meets steel, and where stories are not only told, but embodied. For history, as the clans have always known, is not something left behind. It is something carried forward—into the field, and into the fight.
Andrew McKinnon (gàidhlig – Anndra Mac Fhionghuin Nan Cath [Andrew McKinnon of the battles]) is an armiger of Clan MacKinnon and serves as Gillie Mòr (swordbearer) for the clan. Based in New South Wales, Australia, he trains in historical martial disciplines and represents both Australia and Clan MacKinnon in competitive medieval tournaments across the globe.
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Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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A public appeal has been formally launched to help safeguard and transform National Mining Museum Scotland, which is home to a Recognised Collection of National Significance, Scotland’s first ‘super pit’, and the country’s last surviving colliery built in 1895. The initiative aims to preserve the legacy of coal mining – an industry that powered the Industrial Revolution, drove innovation and social change, advanced workers’ rights, and shaped Scotland’s landscape. It has been designed to give everyone who has a passion for preserving Scotland’s national heritage an opportunity to ‘be part of’ the museum’s future.
The Be Part of Our Future appeal marks the launch of community centred, nationally significant initiative to preserve the memories of Scotland’s mining heritage. It is hoped it will support the museum in caring for and interpreting the nationally significant collections it houses, maintaining and repairing aspects of the A-listed colliery buildings and grounds; developing green energy and community initiatives; and enhancing the venue’s capacity to host community and cultural events across the site.
Launching the initiative, Mhairi Cross, CEO of National Mining Museum Scotland said: “This initiative is vital for the museum at this moment. This appeal brings together essential strands: raising financial support we need and gathering the stories and memories that keep Scotland’s mining heritage alive. Together, these strands strengthen our ability to honour the past while building the resilience the museum needs now, and in the years ahead. This is about preserving the experience of mining communities and ensuring that the museum remains strong enough to carry their stories forward.”
Living heritage site
Photo: Lesley Martin.
Former mine worker at the Lady Victoria Colliery and Kilmarnock Mine Rescue Station, from a long family line of coal miners, Sinclair Sutherland (age 75) is supporting the museum in engaging young people with the appeal by telling his stories through a new series of child-led video interviews. Now a volunteer and family history researcher at the museum, he said: “I’m very pleased to support National Mining Museum Scotland and would urge everyone to ‘Be Part of Our Future’ in whatever way you can to protect this national treasure. It is an incredible living heritage site which triggers memories and stories. It’s like our generation’s form of social media, allowing us to share the important learnings we had down the pits in a really visual and inspiring way. There are not many heritage sites where you can meet and learn from the people who were involved. It is a real honour to represent the pit community, but we also want to make sure that our legacy lives on in the next generation. Younger people will be the tour guides of the future, and sharing stories as part of conversations will enable us to continue to deliver a unique, authentic, and worthwhile experience.”
Fellow interviewee, former timekeeper, Marion Brown age 90 from Newtongrange, agrees: “Working for the coal mines was so much more than just a job. From the social clubs and our cooperative stores to the landscapes and monuments, the industry made so many of the communities we know today and it’s important to remember that. It’s not just been part of our family heritage, it’s our national heritage and we must do all we can to preserve it and the living memories we still have access today.”
The Lady Victoria Colliery was opened in 1895 as Scotland’s first super-pit. It ceased production in 1981 and now serves as an example of one of the best-preserved Victorian Collieries in Europe. The National Mining Museum Scotland was established to make Scotland’s mining heritage relevant to everyone by embracing the legacy of Scotland’s mining communities and found in Newtongrange, Midlothian.
For more information about the Museum’s ambitions for transformation or to donate to the Pithead Circle, visit www.nationalminingmuseum.com/ourfuture. To share a mining story or find out more about the museum’s Living Archive From the Depths of Coal, Rose the Scotland We Know, email: [email protected].
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Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
Support the Scottish Banner! To donate to assist with production of our publication and website visit: The Scottish Banner
Dressed to Kilt, the internationally recognized celebration of Scottish fashion, culture, and philanthropy, returned to New York City on April 11 at the New York Academy of Medicine for an evening that brought together standout talent from across Scotland, the UK, and the U.S. Co-founded by Sir Sean Connery and Dr. Geoffrey Scott Carroll, the event once again delivered a dynamic runway experience in support of the Navy SEAL Foundation.
Hosted by Dr. Carroll alongside Scottish television personality Danni Menzies, the show highlighted this year’s theme, Scotland Cool: Braveheart to Outlander, with a mix of heritage tartans and contemporary design.
A standout moment included the appearance of Miss Scotland 2026, Eilidh MacDonald, who walked in a bespoke Gwen Russell gown representing the next generation of Scottish cultural ambassadors. Scottish football legend John Collins also took to the runway, marking Scotland’s highly anticipated return to the global football stage.
Fashion and performance
The evening featured a dynamic mix of fashion and performance, including a U.S. debut by award-winning Scottish jazz vocalist Georgia Cecile and a high-energy appearance by rising boy band Just The Brave. Designers from across Scotland and beyond showcased collections that blended craftsmanship with innovation, including Carolyn Baxter, Prophetik by Jeff Garner, Calzeat, Strathmore Woollen Company, Lorna Gillies, Sandra Murray, and Red Label Kilts of Canada, led by designer Deana Lloy, whose presence added an international dimension to the runway.
The evening was further elevated by support from the Scotch Malt Whisky Society, which offered guests exclusive access to its global whisky program and introduced a custom event label, “Kilty Pleasures.”
This year’s show also marked two significant commercial announcements. The first was the launch of a new bespoke women’s design brand, Redmond Harvey of Scotland, founded by designer Holly Harvey. Known for one-of-a-kind dresses and gowns, the brand debuted a series of striking long tartan gowns on the runway, signaling a fresh and elevated direction in Scottish womenswear.
The second announcement introduced a landmark collaboration between Strathmore Woollen Company and the Navy SEAL Foundation. Strathmore will curate a range of products in the official Navy SEAL Foundation tartan, designed primarily for the women of the Navy SEAL community—including wives, mothers, daughters, and supporters. Following the show, these pieces will be available via the Navy SEAL Foundation’s e-commerce platform. This partnership represents the first collaboration of its kind between the Foundation and a Scottish company, celebrating both Scottish craftsmanship and the legacy of the SEAL community with a distinctive Highland influence.
True to its mission, Dressed to Kilt continues to serve as a platform for philanthropy, with proceeds benefiting the Navy SEAL Foundation and several former Navy SEALs participating in the show. Blending culture, fashion, and purpose, the 2026 edition reinforced the event’s place as a distinctive and enduring highlight of New York’s cultural calendar.
Jerry Dixon performs during Dressed To Kilt.
All images courtesy of JP Yim/Getty Images for Dressed To Kilt.
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Archaeologists from the National Trust for Scotland have recovered an unexploded mortar shell, thought to have been fired by government artillery during the historic battle. The battle of Culloden on 16 April 1746 was a decisive defeat for the Jacobite army, led by Bonnie Prince Charlie, at the hands of the Duke of Cumberland’s government troops. Intact and gunpowder-packed when it was discovered, the 5.5-inch shell is the first piece of complete government ordnance found at Culloden battlefield and provides fresh evidence for the deployment and action of government and Jacobite forces at pivotal moments in the battle.
Many other projectiles, including cannon shot, musket balls and fragments of mortar shells, have been uncovered at Culloden, but never before has undetonated ordnance been found. Parts of the battlefield are on boggy ground, and it is thought the shell landed on wet ground and the fuse extinguished before it could ignite the powder. Weighing 8kg (17.5lb), heavier than the Jacobite’s three and four-pound cannonballs, the shell is thought to have been fired from one of the government army’s six Coehorn mortars. The Coehorn mortar was a lightweight, squat gun that shot explosive shells in high arcs over lines of troops. Fragments of other shells from Coehorn mortars have previously been found at Culloden and at Glen Shiel, where Coehorns were first used during a battle on British soil in June 1719, but the recent discovery is the first complete and unexploded example ever to have been recovered from a Jacobite battlefield.
The Culloden mortar shell was discovered in a field to the north-west of the Memorial Cairn by a team of archaeologists, metal-detectorists, and volunteers led by the National Trust for Scotland’s Head of Archaeology Derek Alexander and the University of Glasgow’s Professor Tony Pollard. The dig was part of a week-long programme of fieldwork, including digging test pits, machine trenching, metal detecting and mapping, at the Culloden Battlefield in October 2025. During the excavation, over 100 projectiles, including lead musket balls and pistol shot, were uncovered. Cleaning of the shell by conservator Will Murray at the Scottish Conservation Studio confirmed the presence of a bung, and digital x‑ray imaging demonstrated conclusively that the object was hollow with an internal chamber. The shell still retained part of its original plug, and plant fibres trapped in corrosion layers were also recovered for future analysis.
More secrets and stories to be uncovered at Culloden
The mortar shell.
Derek Alexander, The National Trust for Scotland’s Head of Archaeology, said: “This is a remarkable – dare I say, explosive – find of the kind archaeologists dream of, but never expect to encounter. Along with the other projectiles recovered, this discovery helps us better understand the formation of troops and concentration of fire during this brief, but brutal, battle. The mortars may have been aiming at the Jacobite artillery, so the place where the shell landed may mark the heart of the Culloden battlefield. The ground rises slightly in this area, providing a better vantage point, and it is adjacent to the old road along which artillery could’ve moved more easily, making it a plausible location for the Jacobite artillery positions. We have a more vivid image of how the battle played out, but the discovery also tells a human story. Mortar shells mark their path through the air with a smoke trail from the lit fuse, helping the government artillery officers to know how to adjust the length of the fuse to ensure maximum damage. This shell may have been a failed first shot. When it didn’t explode as expected, the Jacobite fighters standing nearby must have felt an immense relief. This is our fifth consecutive year of digging at Culloden, so it’s an ideal time to assess what we’ve found and consider how this work impacts on-site interpretation and the long-term management of the battlefield. We didn’t have high expectations for this previously unexplored area of the battlefield – acidic soil was thought to have impacted the preservation of artefacts, and the broken ground makes detecting difficult – so we’ve been invigorated by this unexpected discovery. It’s clear there are many more secrets and stories to be uncovered at Culloden. The mortar shell was found buried 30cm deep into the ground and items like these can only be found during professional excavations led by experienced archaeologists, so the battlefield remains safe to visitors. This shell has been cleaned and assessed now, making it safe to handle, and has ensured it is safe to go on display. These exciting finds are made possible by the work of our committed archaeology volunteers and team of local metal detectorists, and the continued generosity of our members and supporters. Professor Christopher Duffy not only made a lasting impact on the interpretation and protection of Culloden, but his hugely generous legacy donation has really expanded the range of our investigations.”
Cared for by the National Trust for Scotland, Culloden Battlefield was visited by over 366,000 people in 2025 and is a place of pilgrimage and remembrance for visitors from Scotland and beyond. The battlefield is central to Scotland’s cultural identity, and yet historic battlefields don’t enjoy the same protections as other historic sites, such as Scheduled Monuments or listed buildings. In its 2026 election manifesto, the Trust is calling for the next Scottish Government to commit to Conservation Management Plans that will give battlefields enforceable protection.
Derek Alexander added: “The importance of more rigorous protection for historic Scottish battlefields like Culloden and Bannockburn is underlined by finds like this one. Not only are such places symbolic of our national story, they also may hold many undiscovered artefacts that can tell us more.”
One of the most harrowing battles in British history
Cullodenn Battlefield Visitor Centre. Photo: Gary Anthony.
Professor Tony Pollard of the University of Glasgow said: “Artillery played a vital role at Culloden, particularly on Cumberland’s side, where the Royal Artillery’s cannon were well served by experienced gunners; after disabling the Jacobite guns in counter-battery fire, they delivered round shot, grape shot and canister shot at the Jacobite infantry, first as they were stationary and then as they charged across the wide expanse of open moor. “We have found evidence for all these types of shot, but our previous archaeological investigations have also recovered fragments from an exploded mortar shell. This was fired into the mass of Jacobites as they engaged in hand-to-hand fighting on Cumberland’s left, landing so close that their detonation risked friendly fire casualties. Their location is a clear indication that the impact of the Jacobite charge was taken extremely seriously and regarded as an immediate threat to Cumberland’s line.”
2026 marked the 280th anniversary of the Battle of Culloden. On 16 April 1746, the final Jacobite Rising came to a brutal head in one of the most harrowing battles in British history. Jacobite supporters, seeking to restore the Stuart monarchy to the British throne, gathered to fight the Duke of Cumberland’s government troops. It was the last pitched battle on British soil and, in less than an hour, around 1,600 men were slain – 1,500 of them Jacobites.
The National Trust for Scotland’s richly researched, stimulating and sensitive Culloden Visitor Centre stands beside the battlefield and features artefacts from both sides of the battle and interactive displays that reveal the background to the conflict. It is both a monument and a guide to a pivotal day in history. Culloden’s enduring legacy also persists in popular culture, including the book and television series, Outlander. Fans of the series are currently running a fundraiser in support of the Culloden Fighting Fund, which supports the Trust’s ongoing interpretation of the battle and enables it to create new displays, such as this one of the mortar shell. The fundraiser runs until 2 May 2026 and can be found online at www.justgiving.com/page/jesuisprest.
Main photo: Derek Alexander, The National Trust for Scotland’s Head of Archaeology. Images courtesy of the the National Trust for Scotland.
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Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
Support the Scottish Banner! To donate to assist with production of our publication and website visit: The Scottish Banner
Perth treated visiting bands to a warm welcome, turning on a sunny 29oC (84oF) day for the 2026 Australian Pipe Band Championships on Saturday April 11. An estimated crowd of 7,500 people came to Subiaco Oval to see 18 bands from around Australia and Singapore compete throughout the day.
Amongst the 500 pipers and drummers performing were guest players from around the world, including contingents of players from the USA, Scotland, and New Zealand.
Grade 3 winners, Perth Metro Pipe Band.
The quality of the school bands who came from Queensland, New South Wales, Victoria and Western Australia was very impressive and made the Juvenile Grades hotly contested events. Western Australia Police Pipe Band were the winners in Grade 2, the highest grade in the Championships.
Another local WA band, Perth Metro, won Grade 3. City of Melbourne Highland Pipe Band were the victors in Grade 4A, with Scotch College Melbourne No.2 winning Grade 4B. Scots College Sydney No.1 won Novice Juvenile A. Scotch College Melbourne No.2 won the Novice Juvenile B contest.
The highest level of pipe band competition in the country
Drumming for Haileybury Pipes & Drums (Victoria).
Interestingly, the local West Australian bands were the best dressed, with WA Police, Perth Metro, Perth Highland, Coastal Scottish, and PLC Perth each winning the dress inspection in their respective grades. There was also a Drum Majors Flourish contest during the day, which is always a crowd-pleaser.
The Drum Majors march along the course, displaying their skills ‘flourishing’ the mace and occasionally throwing it the air and catching it without missing a step. The winning Senior Drum Major was Dominic Anderson-Strudwick of the Australian Federal Police Pipe Band, based in Canberra. Winning the Juvenille Drum Major Flourish was Hamish Wiseman from The Scots College Sydney.
Sgt Ben Casey.
The day concluded with an impressive 500-strong massed band advancing across Subiaco Oval toward a capacity crowd in the Pavilion. Recognised as the highest level of pipe band competition in the country, the Championships are run by Pipe Bands Australia every two years. This is the first time in 30 years that the Championships have been held in Perth, with Pipe Bands WA hosting the event.
Following the presentation of trophies the President of Pipe Bands Australia, Ainsley Hart, announced that Brisbane will host the 2028 Australian Pipe Band Championships.
Singapore’s Lion City Pipe Band.
For updates on pipe band events, and for full results of the 2026 Championships, visit the Pipe Bands Australia website: www.pipebandsaustralia.com.au. The entire video stream of the 2026 Championships is available to watch online via the Pipe Bands Australia YouTube channel: www.youtube.com/live/VstUmu3C2ec.
Images courtesy of Louise Rowland.
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Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
Support the Scottish Banner! To donate to assist with production of our publication and website visit: The Scottish Banner
Jupiter Artland is an odd and intriguing name for one of the Edinburgh area’s oddest visitor destinations. You can get there by car or bus but however you do so it feels strangely like arriving at a safari park. But animals are not the main attraction here. Instead of giraffes and lions there are works of art. It’s Jupiter Artland, after all.
The story starts a long time ago. Bonnington House was originally built in 1622, in the last years of James VI. It was much altered over the years and completely refurbished in, ironically, a Jacobean style, in 1858. The house had been owned by various noble Scottish families but the present owners, Robert and Nicky Wilson, acquired the property in 1999.
They have since spent a great deal of money refurbishing and adding to the house. However, early in their acquisition they saw the potential of the fields, meadows and woodland surrounding the property as an open-air art and sculpture gallery. They started acquiring works and laying out the site. Jupiter Artland finally opened in 2009 and over a million people have now visited.
Artworks
Gateway.
Many of the artworks are big but some are quite enormous, features of the landscape rather than objects set there. Some you can’t miss; others are almost hidden and you have to really look for them. The souvenir map is an excellent guide, however, and with it you should be able to track down the 33 numbered artworks.
Some of the artworks you look at and study, like traditional exhibits in a gallery. Most you can touch. Some of them you actually interact with, and none more so than Cells of Life by Charles Jencks.
If you arrived by car you’ll have driven through Jencks’ work on your way to the car park. If you arrived on foot after getting off the bus, you’ll probably stop and explore as soon as you see it. It’s a substantial artificial landform composed of several terraced mounds, like the remains of Iron Age hillforts, with spiral paths that climb to their summits. Between the mounds are still, clear, sky-reflecting pools. It’s mesmerising to watch the shapes of the mounds change as you follow the paths and take pictures of the clouds mirrored in the water.
It’s supposed to be, as its name suggests, an artistic response to the cell, the very basis of life in all its forms. I have to confess I don’t quite get that: to me it comes across more as a stylised celebration of landscape, hill and loch, with nods to humankind’s impact on the environment. Go and see and interact for yourself. What do you think?
Better felt than tellt
Cells of Life.
Near Cells of Life there are some paddocks where you many find the likes of ponies and donkeys. They may give a break from the art, if you or the children need one. If this is a safari park for art, there are at least a few genuine animals around.
It’s tempting to describe lots of the other artworks but I’m going to limit myself as it’s much better to go and see and prepare to be surprised. As the Scottish phrase has it, Jupiter Artland is better felt than tellt. However, there is a corner of the park that I particularly enjoyed. It’s near the hub of the park, The Steadings, where you’ll find the café and shop and indoor gallery. It’s quite near the main car park. Just to the west of The Steadings is the area known as Gala Hill, a pleasant and airy woodland which has a surprising number of intriguing, sombre and sometimes funny artworks.
If you have children with you, I can confidently predict that their favourite will be Firmament by the legendary artist Antony Gormley of Angel of the North fame. Firmament is in stark contrast to his usual slightly eerie standing human figures. It’s inspired by an old star map and is like a giant Meccano set gone mad. In recreating the night sky, the metal links actually almost take the shape of a sinister monster. Gormley recommends looking at the sky through the artwork. It’s in an elevated space at the edge of the wood with a fine view over the Forth bridges.
Gala Hill also features three works by the late Scottish artist Ian Hamilton Finlay, who was a pioneer of art designed to be experienced in the landscape, as at his famous garden of Little Sparta at Dunsyre in the Pentlands. I still remember Finlay’s exhibit at the 1988 Glasgow Garden Festival and there’s a faint whiff of that event about Jupiter Artland.
Signpost to Jupiter
Cells of Life.
Bonnington House itself is not open to the public and is a private home, but it often provides an attractive background as you explore the sculptures. Joana Vasconselos’ Gateway is an ornamental pool set amongst thousands of Portuguese tiles, amongst beautiful gardens with Bonnington House as a backdrop.
Perhaps surprisingly, Bonnington House was bombed during the Second World War causing some minor damage. One of the artworks commemorates this event; Henry Castle’s Hare Hill models one of the bombs that fell as well as the aircraft itself, linking the spot to Hare Hill, some six miles away in the Pentlands. A Luftwaffe bomber crashed there during the war, and its wreckage can still be seen.
Other artists you’ll probably have heard of, and who are represented in the park, include Andy Goldsworthy and even Tracey Emin. The park supports educational visits to the park for young people; going to visit, and paying the entrance fee, helps to support this important work.
On our visit, in the spring of 2025, we spent a couple of hours at Jupiter Artland, yet there were not only some artworks, but entire areas of the park that we didn’t get to. So, there’s always a reason for another visit. However, you might ask, why the name. Why Jupiter Artland? The honest answer is that I don’t know! However, there is an artwork by Peter Liversidge entitled Signpost to Jupiter which is, indeed, a signpost pointing (up the way!) to Jupiter. The sign points out that, depending upon orbits, Jupiter is between 893 and 964 million kilometres away.
So, now you know.
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Content on the Scottish Banner website remains free for users. Stories and events listed for the international Scottish community continue to be an important resource for many across the world. As advertising revenue remains a challenge, our readers can donate to help us produce unique Scottish content for global Scots. Every contribution counts and thank you for considering your support.
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