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                <text>Seated figurine; grey pottery. From Isthmus of Tehuantepec, State of Oaxaca. Clay figurines appear in the graves and household debris of the earliest farmers in Mexico and continued to be made and used by successive civilisations until the Spanish Conquest. Those made by the village farming communities of the Mexican Neolithic most often represent women, with exaggeration of the breasts and buttocks perhaps reflecting a concern with human fertility and increase. Images of the later period, especially those from the great classical city of Teotihuacan, illustrate a variety of gods and human types, reflecting the richness and diversity of an elaborate priest-temple cult</text>
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                <text> McPherson, John Dr</text>
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                <text>Zapotec</text>
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                <text>America Mexico Oaxaca Isthmus.of.Tehuantepec </text>
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                <text>48. Gregory's Reflecting Telescope. The James Gregory (1638-1675) who invented the reflecting telescope is usually regarded as the brightest star in the Gregory constellation, and the greatest mathematician in a family of mathematical geniuses. His son, James (1674-1733), was the first in the family to attain professorial rank in Medicine (King's College - 1725 till 1732), and two of his grandsons and a great-grandson also became professors of Medicine in King's College, Aberdeen.&#13;
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Gregorian reflector telescope used in Aberdeen Observatory (18th cent)</text>
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                <text>America Mexico Veracruz Panuco.near.Tampico </text>
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                <text>Clay figurines appear in the graves and household debris of the earliest farmers in Mexico and continued to be made and used by successive civilisations until the Spanish Conquest. Those made by the village farming communities of the Mexican Neolithic most often represent women, with exaggeration of the breasts and buttocks perhaps reflecting a concern with human fertility and increase. Images of the later period, especially those from the great classical city of Teotihuacan, illustrate a variety of gods and human types, reflecting the richness and diversity of an elaborate priest-temple cult.</text>
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                <text>&lt;span&gt; America Mexico Varacruz Panuco Tampico &lt;/span&gt;</text>
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                <text>Clay figurines appear in graves and the household debris of the earliest farmenrs in Mexico, and continued to be made and used by successive civilisations until the Spanish Conquest. Those made by farming communities of the Mexican Neolithic most often represent women, with exaggeration of the breasts and buttocks, perhaps reflecting a concern with human fertility and increase. Images of a later period, especially those from the great classical city of Teotihuacan, illustrate a variety of gods and human types, reflecting the richness and diversity of an elaborate priest-temple cult. The photograph shows six out of 16 small, fired, white clay figurines which were dug up by a workman excavating a trench near Tampico, Vera Cruz State, Mexico, in the 1920's. The figures were all of females and many had exaggerated hips and large buttocks. They are naked and the breasts, navel and vulva are often depicted, and also sometimes the feet and head, but these are not always modelled, and they are small and insignificant. Although the forms of the figurines varies, the essential style emphasises the female sexual characteristics and minimises the head and limbs. They are thought to be prehistoric, certainly Pre-Columbian and probably dating from the first millennium BC.&#13;
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&#13;
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                <text>&lt;a href="http://calms.abdn.ac.uk/Geology/dserve.exe?dsqIni=Dserve.ini&amp;amp;dsqApp=Archive&amp;amp;dsqCmd=Show.tcl&amp;amp;dsqDb=Catalog&amp;amp;dsqPos=0&amp;amp;dsqSearch=%28ObjectNumber%3D%27ABDUA%3A63805%27%29"&gt;ABDUA:63805&lt;/a&gt;</text>
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                <text>Notebooks and diaries written by Frederick Gatherer Bowie. Bowie (1869-1933) born Kirkwall, educated Aberdeen, MA 1891 Aberdeen University. Ordained by Aberdeen Free Church Presbytery 1896, appointed as missionary to New Hebrides 14 February 1896. Served at Tangoa and South Santo, in charge of Teachers Training Institute, Tangoa, 1910. Married 1896 Jeannie Birse Mutch.</text>
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                <text>Early: 1896 Late: 1933</text>
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            <name>Relation</name>
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                <text>paper ink </text>
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                <text>&lt;a href="http://calms.abdn.ac.uk/Geology/dserve.exe?dsqIni=Dserve.ini&amp;amp;dsqApp=Archive&amp;amp;dsqCmd=Show.tcl&amp;amp;dsqDb=Catalog&amp;amp;dsqPos=0&amp;amp;dsqSearch=%28ObjectNumber%3D%27ABDUA%3A3007%27%29"&gt;ABDUA:3007&lt;/a&gt;</text>
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            <description>An account of the resource</description>
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                <text>Girdle in bark, dyed red. Worn by males.</text>
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            <name>Creator</name>
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                <text>Ross, William Rev</text>
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                <text>Early: 1800 Late: 1900</text>
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                <text>Ross,William Rev </text>
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                <text>vegetable.fibre bark pigment </text>
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                <text> L: 2930 mm W: 70 mm </text>
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                <text>Melanesia Vanuatu </text>
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                <text>Portrait of Robert Gordon of Straloch by Charles Whyte, 1707.&#13;
&#13;
Hamilton (1743-1829) became Professor of Natural Philosophy at Marischal College in 1779 but switched posts and became Mathematics Professor the following year. Although teaching Mathematics from 1880 the switch was not officially ratified until 1817. The painting likely commemorates his formal appointment. Peterhead based John Moir (1775-1857) was a portrait and occasional landscape painter. Studied in Edinburgh and Italy. He painted a number of portraits of the Gordon family including '4th Duke of Gordon' now in SNPG.&#13;
&#13;
Grub (1812-1892) was Professor of Law Aberdeen 1881-1891 having joined the staff teaching Scots Law and Conveyancing at Marischal College in 1843. George Reid, (1841-1913) trained in Edinburgh, in Holland studying with G.A. Mollinger and J. Israels, and in Paris. Initially a landscape painter he increasingly worked as a portraitist. He is closely associated with John Forbes White, the Aberdeen patron and collector.&#13;
&#13;
Gregory (1638-1675) was born at Drumoak. He graduated from Marischal College in 1657. His first important work was in optics, and by 1663 he had published a book on the subject and had invented the reflecting telescope. Later that year he went to Italy to further his mathematical studies. There he published 2 books on calculus (as it was later known). He returned to Scotland in 1668 and became the first professor of maths at St. Andrews. In 1674 he went to Edinburgh but shortly afterwards his health began to fail and he died the following year. He shares with Newton the credit for the discovery and proof of the general binomial theorem and for the development of the theory of interpolation. Possibly a copy or a duplicate work by Scougall as a portrait of Gregory attributed to John Scougall is in Fyvie Castle (ex 1884 Scot Nat Portraits No494 Artist unknown). This was reputedly in the possession of the Gregory Family since it was painted between 1661-1675. The University work lacks the inscription of the Fyvie painting however the inscription is post mortem.&#13;
&#13;
Gordon, Professor of Medicine at King's College from 1632-38, was active in the university at the time Jamesone is known to have been completing portraits of other Aberdeen academics. The portraits of Arthur Johnstone and James Sandilands both contemporaries of Gordon, are firmly established as Jamesone's work and the artist may well have painted this portrait around the same time. George Jamesone (1590-1644) was a native of Aberdeen and Scotland's first known painter of real merit. Traditionally he is said to have trained in Antwerp, and his work has strong affinities with the Low Countries.&#13;
&#13;
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                <text>club </text>
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                <text>&lt;a href="http://calms.abdn.ac.uk/Geology/dserve.exe?dsqIni=Dserve.ini&amp;amp;dsqApp=Archive&amp;amp;dsqCmd=Show.tcl&amp;amp;dsqDb=Catalog&amp;amp;dsqPos=0&amp;amp;dsqSearch=%28ObjectNumber%3D%27ABDUA%3A3009%27%29"&gt;ABDUA:3009&lt;/a&gt;</text>
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                <text>One of five clubs listed in Reid, 1912. Circular disc-like end. James Edward Keith (1696 -1758), Younger brother of the last Earl Marischal of Scotland. Exiled for taking up arms against the Hanovarians in the 1715 uprising, he fled to the Continent, where, like many of his countrymen, he soldiered on behalf of foreign princes. After great success as a general of the Czars, he left Russia to serve and to become the favourite Marshal of Frederich of Prussia. He was killed at the battle of Hochkirk in 1758.</text>
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                <text>Melanesia Vanuatu Eromanga type </text>
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            <name>Abstract</name>
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                <text>Scarabs were very common amulets or lucky charms. They are shaped like the dung beetle, which makes animal dung into balls, which it pushes along the ground. The Ancient Egyptians thought that the god Khepri was like a giant beetle who pushed the sun across the sky. People also thought that scarabs would protect them when they were dead so that their spirit could live safely in the otherworld. For this reason, scarabs were often placed in the coffin with a mummy. Other scarabs were used like a seal to stamp the name of the pharaoh on official documents.&#13;
&#13;
Fighting clubs of ironwood Santo and Malekula&#13;
&#13;
Leslie was educated at King's College and Paris. A Canonist at King's in 1556 and 1558-9 he was secretary to Mary Queen of Scots and a staunch defender of King's College's Catholic identity in the 1560's. One of a large number of images relating to the Stuart dynasty in general in the university collection. These images attest to Stuart Royal patronage of King's College (the College was visited by James V in 1541 while Leslie was a student) and later to the prolonged Jacobite sympathies of both King's and Marischal Colleges.&#13;
&#13;
Kelly delivered lectures on architecture in the university during the 1920's. Aiken (1880-1961) was born and trained in Aberdeen before studying in London. Head of Gray's School of Art 1911-14, he was mainly a portrait painter.&#13;
&#13;
A graduate of King's College, and a student at Geneva, Keith (1553-1623) was the founder (1593) and first Chancellor of Marischal College which he endowed with sufficient funds to maintain a principal, three professors and six bursars. The portrait is a copy of an original reputed to be by George Jamesone. Cosmo Alexander (1724-1772) was trained under his father John Alexander. Both artists worked for King's and Marischal Colleges. Cosmo Alexander fought in the 1745 Jacobite rising and subsequently fled to Rome. One of the pre-eminent painters of leading Catholic and jacobite families of the period this work is his earliest known portrait. C.osmo Alexander was Jamesone's great grandson. See ABDUA: 30627.&#13;
&#13;
Professor William Johnston (d.1640) was the first Professor of Mathematics at Marischal College in 1626 and was the younger brother of Arthur Johnston see 30091. George Jamesone (1590-1644) was a native of Aberdeen and Scotland's first known painter of real merit. Traditionally he is said to have trained in Antwerp, and his work has strong affinities with the Low Countries.&#13;
&#13;
A major Scottish writer of Latin verse, probably second only to George Buchanan Johnston (1587-1641) was Rector of King's College in 1637. He was a well travelled scholar having been Professor of Philosophy at Heidelberg, of Logic and Metaphysics at Sedan and MD at Padua. Some of his poetry involves Jamesone directly either addressed to the painter or praising his work. George Jamesone (1590-1644) was a native of Aberdeen and Scotland's first known painter of real merit. Traditionally he is said to have trained in Antwerp, and his work has strong affinities with the Low Countries.&#13;
&#13;
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. This particular image is based on a 1623 painting of James VI by Adam de Colone now in Hatfield House.</text>
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        <name>club</name>
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        <name>Reid</name>
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        <name>William Ross</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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                  <text>Collecting the world </text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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            <name>Title</name>
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                <text>club </text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="9612">
                <text>&lt;a href="http://calms.abdn.ac.uk/Geology/dserve.exe?dsqIni=Dserve.ini&amp;amp;dsqApp=Archive&amp;amp;dsqCmd=Show.tcl&amp;amp;dsqDb=Catalog&amp;amp;dsqPos=0&amp;amp;dsqSearch=%28ObjectNumber%3D%27ABDUA%3A3023%27%29"&gt;ABDUA:3023&lt;/a&gt;</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Club in hard wood. Handwritten addition to Museum's 'Slip Catalogue' reads: 'Said to have been brought from the New Hebrides by a christian missionary Peter Milne and presented by him to the Reverend Thomas Lockerby Wilson, first minister of the Free Church, Longside Aberdeen.'</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Milne, Peter</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="9615">
                <text>Early: 1800 Late: 1930</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Milne, Peter </text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>wood</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>L: 970 mm </text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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              <elementText elementTextId="9619">
                <text>Melanesia Vanuatu Malekula </text>
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          <element elementId="53">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
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                <text>Stuart loyalist Claverhouse (1648-89) is depicted in full armour in reference to his prowess as a military leader and possibly to his death at the battle of Killiecrankie.</text>
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        <name>club</name>
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      <tag tagId="781">
        <name>Peter Milne</name>
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        <src>https://exhibitions.abdn.ac.uk/university-collections/files/original/a188006891b712eddd9edfa20ec051b2.jpg</src>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Collecting the world </text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text> knife</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="9622">
                <text>&lt;a href="http://calms.abdn.ac.uk/Geology/dserve.exe?dsqIni=Dserve.ini&amp;amp;dsqApp=Archive&amp;amp;dsqCmd=Show.tcl&amp;amp;dsqDb=Catalog&amp;amp;dsqPos=0&amp;amp;dsqSearch=%28ObjectNumber%3D%27ABDUA%3A3045%27%29"&gt;ABDUA:3045&lt;/a&gt;</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Knife or sita, made of shell. Slip: 'Found when the people were clearing land for their annual yam planting.'</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>Early: 1800 Late: 1933</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text> shell turtle.shell </text>
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            <name>Format</name>
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          <element elementId="38">
            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Melanesia Vanuatu Santo </text>
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          <element elementId="53">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
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                <text>Aberdeen seen from the countryside. The industrial city with smoking stacks is contrasted with the rural activity in the foreground. See also ABDUA: 30843.&#13;
&#13;
H.W. Bunbury (1750-1811) amateur engraver and friend of Joshua Reynolds (see 'Journal of 18thC Studies' vol.9, 1975-6, pp29-30). Here illustrating John Langhorne's (1735-79) poem 'Affliction' (1766). The engraving is not related to Joseph Wright of Derby's painting of the subject which appeared six years later and although the quotation refers to the Seven Years War (1756-63) it is possible that the occasion for the publication was British defeat and the loss of the American colonies in 1783.</text>
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        <name>knife</name>
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        <name>sita</name>
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