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Political cartoon attacking Spain, Holland, Prussia and Austro-Hungary as faithless allies in the war against France. See catalogue of Political and personal Satires, Vol.VII 1771-1783, M.D. George, London 1942, item no. 8477.

Political cartoon. Britain is depicted as outweighing America France, Spain and Holland. Defiance of Britain standing alone contrasts with 31603 and the acknowledgement of defeat. See catalogue of Political and personal Satires, Vol.V 1771-1783, M.D. George, London 1935, item no. 5827

One of a series of views of Aberdeen produced by Smith and Swan in 1822. See also 30317, 30172,30307. Joseph (or Joshua) Swan was a Glasgow-based engraver active c.1820-40. The Bow Brig was designed and built by John Jeans in 1747. It was removed in 1851. Rather than an image of progress as are the many images of the nearby 'Union Bridge', the Bow bridge is here used as an opportunity for nostalgia.

Topographic view of Braemar published in London.

Pastoral image of the city. In contrast to near contemporary views there is no reference to industrial activity at all with much of the city screened by foreground trees. (see 30460) 'Smith' may be G. Smith who produced several views of the city in partnership with J. Swan in 1822. A number of these share the non-industrial depiction of the city. See 30317.

Stonehaven is depicted from the South and seen as a thriving port and semi-manufacturing town. William Henry Bartlett (1809-1854) was a London topographical illustrator.

Generic romantic Scottish castle depicted as remote with picturesque figures in middle distance.

Town is seen from the beach with a view of Kinnaird Castle and the harbour. Published in London. William Daniell (1769-1837) a London based engraver is now best remembered for the plates illustrative of India engraved with his uncle Thomas Daniell. One of a number of images produced by Daniell in Scotland in 1822. See 31570

Example of Enlightenment scientific inquiry. Probably contemporary with the geological research of James Hutton. Letters keyed into the image linked to a (missing) explanatory text. 'Bullers' is more commonly 'Bullars'. The view is not topographically accurate.

Romantic image of kilted figure with a dog visiting Scotts grave in the decaying Abbey. Wholly in keeping with Scott's romanticised conception of Scotland's past. Engraver is probably William Miller (1796-1882) accomplished Edinburgh engraver who illustrated numerous volumes of Scott. A founder member of the RSA in 1826 Miller withdrew after the first meeting. Bell may be John Anderson Bell (1809-65) a Glasgow born architect and watercolourist.

This is one of a large number of images of the Stuart dynasty in general in the university collection. These images attest to Stuart Royal patronage of King's College and later to the prolonged Jacobite sympathies of both King's and Marischal Colleges. In particular there are a large number of images, particularly engravings, of Mary, reflecting her role as one of the cast of 'hero' figures from Scottish history in whom much of nineteenth century Scottish identity was invested. This image is part of the Romantic presentation of Mary as tragic heroine. There is no attempt to record the features of the subject accurately. Mary is depicted as ideally beautiful.

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Glass Cases I & II, Shelf 8. Two Porcupine Chair Seats. Nova Scotia.

Thermometer for cheese making (late 20th cent).

Christening bowl from Greyfriar's Kirk (18th cent).

During the Neolithic in Britain, about 4000-2000 BC, accomplished flint knapping produced some highly finished items, such as arrowheads, knives, sickles and laurel leaf points. These, along with ground stone artifacts, were probably objects denoting high social status. This is a discoidal knife beautifully made on a large flake of grey flint. The D-shaped knife has been pressure flaked to thin it, then faces have been polished, and the edges also, to sharpen them. The knife was found in the Bog of Fintray, Fintray, Aberdeenshire, along with other well-made flint tools. The style and manufacture of the flints is typical of the Later Neolithic period. The flint may come from another part of Britain.

This socketed bronze axe-head is part of a collection of bronzes donated to Marischal Museum, Aberdeen in July 1984. The donation included the donor's great-grandfather William Joyner's original collection of the Dingwall hoard of bronzes taken by him to Natal, South Africa in 1851 and two other bronzes. The hoard comprises two socketed axes, a sunflower pin-head and a rare neck-ring, all dating from the later Bronze Age, 1100-700BC and found together near Dingwall in the early 19th century. The two other bronzes became associated with the collection while in Africa and are probably of African origin. During the prehistoric period collections of metal or stone items, often of value to the community or individuals, were buried or deposited in wet places. Axeheads, swords, halberds and ornaments are often found in these hoards. The type of artefact found in a hoard is probably not typical of everyday objects. However, the associations of different objects can help to establish the dates of artefact types.

During the 17th to 19th centuries, after the Reformation, pewter was often used for church communion vessels and furnishings particularly in the Protestant churches, because either the church was too poor to afford silver or because the silver was taken in times of war to be melted down for funds. This is a bracket font, a pewter bowl held in an iron bracket, that was mounted under the pulpit of the church at Newmachar, Aberdeenshire. It would have been used for baptisms. It dates from the 19th century and possibly earlier.

During the earlier Bronze Age, 1800-1100BC, flat axe-heads were cast by pouring molten metal into a matrix carved in stone, probably by specialist bronze smiths. Sometimes these moulds have more than one matrix, indicating other bronze objects were also cast. This axe mould is made of Old Red Sandstone, a local sandstone. A rounded boulder has been split to make a flat surface, into which has been carved a single matrix for a Migdale axe-head. The stone is reddened around the matrix, probably by the hot metal, and one edge of the matrix is chipped, perhaps from the manufacturing process. The axe-mould was found during ploughing at Corsegight, New Deer, Aberdeenshire. Another similar mould was found later at the same location, suggesting that bronze axe making was a specialised activity at this location.

Male and female figures Haida style, Queen charlotte Islands, British Columbia Similar to a number of pairs of figures collected in the 1840's and 1850's. The woman invariably wears a button blanket of the panel type, fastened at the neck, while the man usually has a blanket wrapped under one arm. He also usually wears a handkerchief tied around his head. The style of dress and face-paint is typical and is good evidence for the appearance of mid-19th century Haida.

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Working back from the research by Lurie & Anderson (1998) I believe this item to have been recorded in museum documents since 1887. It does not appear in Reid's 1912 Catalogue, but does have a dinstinctive paper label on the back, numbered 526 in red ink. These paper labels (circular with serrated edge) are associated with the notebook probably written by Nora Macdonald, c. 1896, listing the collection at King's College (ABDUA 63775). Pencilled in the margin against Item 9 (Fijian woman's dress ...) in 'Polynesian, Case XXXIII' is the number 526. A similar description appears in Michie's 1887 printed catalogue of objects at King's. The 'slip catalogue' appears to have been typed at some time between 1949 and 1969, at a time when it was found that many items at Marischal Museum had not been accessioned or catalogued. If Lurie & Anderson's research is correct then the capes were made between 1830 and 1860, and had not long been in the collection when catalogued by Michie (1887).

FEATHER GORGET - Yellow, Grey, Brown and Black Feathers on Tapa Cloth Backing. HAWAII

I. 4. FEEJEEAN FEMALE'S DRESS.

L. Polynesian. Case XXXIII, Item 9, (526). Fijian woman's dress made of feathers.

212. Cap, chief's, made of skin of leopard. Made by Wakilindi tribe. - Presented by Dr E Henriques, 1895.

Measuring ladle for milk (late 20th cent).

Straw rope.

Polished pitchstone knife, Bog of Fintray (c4000-4000BC).

563. Charm, with natural perforation, in flint. Suspended from tie-beam of roof of cowbyre to render cows witchproof. Buchan, Aberdeenshire.

During the Neolithic in Britain, about 4000-2000 BC, accomplished flint knapping produced some highly finished items, such as arrowheads, knives, sickles and laurel leaf points. These, along with ground stone artifacts, were probably objects denoting high social status in the Neolithic and earlier Bronze Age. This is a knife made on a flake of black pitchstone. It has been ground so that the whole surface is smooth and one edge is sharpened to a fine cutting edge by grinding. The back of the knife, although damaged, appears to be blunted. There is a slight keel running along the centre of the blade. Parallel grooves can be seen on the blade which may result from use. The knife was found in the Bog of Fintray, Fintray, Aberdeenshire along with other well-made flint tools. The technique and style of manufacture of the tools is typical of the later Neolithic period. The pitchstone does not come from Aberdeenshire and this indicates that the raw material, if not the tool, was brought from elsewhere in Britain. The size and shape of this knife resembles bronze razors from the Bronze Age in Scotland

Male and female figures Haida style, Queen charlotte Islands, British Columbia Similar to a number of pairs of figures collected in the 1840's and 1850's. The woman invariably wears a button blanket of the panel type, fastened at the neck, while the man usually has a blanket wrapped under one arm. He also usually wears a handkerchief tied around his head. The style of dress and face-paint is typical and is good evidence for the appearance of mid-19th century Haida.]]> ABDUA:504]]>
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