medieval – Living Field

Pictish Beasts

By Kathryn Owen

I think it was the great sculptured stone of Nigg that did it…… How could someone have carved a stone of that size, with such intricacy, such imagination and such skill with just a hammer and chisel? And 1200 years ago?

The Pictish cross-slab in Nigg Church, Tarbat (www.livingfield.co.uk)

So that was how I became hooked on Pictish sculptured stones. I visited Tarbat Ness in Easter Ross and the beautiful little museum in St Colman’s Church at Portmahomack [1] to find more examples and history retold as a story. Martin Carver of York University began fieldwork on the site in 1994 [2]. The team uncovered extensive monastery grounds near a stone church probably dating from the 8th Century, with evidence of metalworking and vellum making but also many carved stones, all in pieces.

The evidence of vellum making indicates that a scriptorium (place for creating manuscripts and illustrated gospels) was in existence at that time. There is discussion at the moment too, as to whether the ‘Book of Kells’ [3] could possibly have been created, in part perhaps, at the monastery of Portmahomack. If true ……..now there’s a legacy!

From there, I visited the other great Pictish sculptured stones of Tarbat Ness – the Hilton of Cadboll Stone and the Shandwick Stone [4]. There is a replica of the Hilton of Cadboll Stone, carved by Barry Grove [5] and now in its original position. The actual Stone is in the National Museum of Scotland in Edinburgh. The Shandwick Stone is covered by glass and is therefore protected from the elements, in place in the village of Shandwick. The Parish Church of Nigg houses the Nigg Stone, without glass, and it is the original – not a replica – and it is amazing!

Once I had seen these huge sculptured stones I began to find out more about both the Picts and their stones. Eastern Scotland is rich in its Pictish Stones, as is Morayshire, and there are so many to see, some in situ and some in museums. Some are well-protected but many are not – they are still in fields without even wooden structures to protect their artistry and their story. They are vulnerable to rain, snow, changing temperatures and the farmer’s plough.

The stone in the photograph below, called St Martin’s Stone, is still in a field at Balluderon, Angus, exposed to the elements, and the sculpted figures and beasts are very faintly seen. This monument, was created 1300 years ago but seems to be no longer respected as significant in 2022. The damaged rusty fence constructed around it may protect it from the plough or tractor, but not the weather. Should we not be doing more to protect these stones?

Iconography

I began seeking out Pictish Stones, taking photographs of the stones and their sites and recording the iconography of the stones. The stones have a wide range of symbols and strange motifs, of key patterns, or interlaced knotwork, of figures – many on horses, some clerical, some warriors, some musicians, and then there are the beasts! There are entwined sea horses, strange dragon-like animals, birds like eagles or ravens, angry limb-eating monsters and also the ‘Pictish Beast’. This beast is strange – it has a snout like a dolphin, a crest or mane like a horse, four weird appendages which could not really be called legs or fins and then a tail! It has sometimes been called the ‘elephant beast’, maybe because of its large trunk-like head.

One of my projects was to find as many Pictish Beasts as I could, photograph and draw and paint them. There is evidence that the stones had been painted after they had been sculpted. The colours of the paint would have been the basic dyes available to the sculptors at the time (e.g. woad, madder etc.). I like to think of my pictish beasts as being somehow toned with the blues, greens and yellows that remind me of sea reflections. I suppose I do see the pictish beast as a water animal but this is just an intuitive feeling about it! I have drawn about 10 beasts so far and there are about 50 odd altogether – so I have a long way to go.

Here are some of the ones I have completed so far, with details of the stones, where they can be found and any interesting points about them.

Rodney’s Stone – Brodie Castle in Morayshire

Rodney’s stone is a 2 m high cross slab located on the approach to Brodie Castle, originally found in the grounds of the old church of Dyke and Moy nearby. There is also an inscription in ogham alphabet [6] on the stone and this contains the name ‘Ethernan’ who was a Pictish Saint.

Note that the Pictish beast has ornate interlacing on its body, not that usual.

Meigle, Perthshire

There is a great museum in Meigle in the former Parish School built in 1844 [7]. There is archeological evidence of an early church or monastery from 9^th century. There are 27 Pictish stones and about a third of them are magnificent cross slabs and the stones are each numbered [4]. This Pictish beast (left below) is found on the side panel of Meigle 5 and looks fairly amused. The other – the grumpy one – is found on the reverse of the stone called Meigle 4.

Local Stones – McManus Museum, Dundee

There have been a number of Pictish Stones found around Dundee and in Angus. I visited the local McManus Museum and also the Meffan Institute in Forfar [8] and was delighted to see the large number of stones on display. Strathmartine is an area of Dundee to the north west of the city where stones have been found on farmland. A pictish beast is found on Strathmartine 1, 3 and 6 [4]. This one is Strathmartine 1 and was found in a field between Strathmartine Castle and Gallow Hill.

Aberlemno, Angus

This stone of a pictish beast with a horse shoe above it was found in Aberlemno in the 1960s, again in a field. Aberlemno has a collection of outstanding Pictish stones, simply standing at the side of the road and in the grounds of the parish church. Another stone has recently been found in a nearby field during an archeological dig by Aberdeen University. A visit to Aberlemno really is inspiring to see these stones in situ, along the roadside and in the graveyard of Aberlemno Kirk [9].

Rossie Priory, Perthshire

The Rossie Priory Stone in Perthshire is protected in a family mausoleum. It is another highly carved, ornate and artistic stone and this beast is part of it. The heads below the beast are of a two-headed dog.

The Nigg Stone, Easter Ross

The Nigg Stone was broken in the 1800s when it was being moved and later repaired with a steel frame and an insert. The missing part on the reverse side of the stone had a Pictish beast and bird sculpted upon it. We know this from a drawing by Charles Petley in 1811/12.

I attempted to recreate this image of the beast from faint sketches found on Canmore [4] and in the Tarbet Ness Discovery Centre at Portmahomack [1], but also added in the interlacing that was in the original. I have found, so far, only two pictish beasts that contain interlacing and these are Rodney’s Stone and Nigg Stone. My drawing (below) shows an eagle above the beast and there are other stones where an eagle is below a pictish beast. There seems to be a relationship between these two – the eagle and the beast – but what?

More to be found

There are more pictish stones being discovered by various enthusiasts and professional archeologists as we move through 2022 into 2023. Recent finds include those at Aberlemno in 2021 [9] and Kilmadock in September 2022 [10].

Pictish Hill Forts are being futher excavated such as those at Burghead in Moray [11] to reveal great fortifications and more Pictish artifacts.

I hope more pictish beasts will be revealed but I have a long way to go to photograph, draw and paint all of them. Maybe I will not finish the task, but it’s a fascinating project so far!

Finally, details of the various beasts, the beautiful interlacing and key patterns can be found in the book by George Bain [12]. Bain describes and draws detail from Hilton of Cadboll, Shandwick and Nigg Stones but also instructs and guides readers into the art of Celtic design and construction. This is a great book for anyone wanting to learn more about the art of celtic drawing.

Sources | links

[1] St Colman’s Church is now the site of the Tarbat Discovery Centre, Portmahomack, Easter Ross, which gives history of the site and wider area, and displays stones found locally.

[2] Portmahomack Monastery of the Picts, 2^nd edition 2016, by Martin Carver. Edinburgh University Press.

[3] Book of Kells: see Trinity College Dublin at Shine a light on Irish history and the National trust for Scotland at The Book of Kells. The possibility that the Book could have been produced at an eastern Scottish monastery is considered by Victoria Whitworth (link to the Tarbat Discovery Centre).

[4] Photographs, drawings and information on Pictish Stones can be found by searching the Canmore web site (National Record of the Historic Environment) and in books, for example: Allan, J. Romilly and Anderson, J. 1903. The early Christian Monuments of Scotland, Vols 1 and 2. Society of Antiquaries of Scotland, Edinburgh. Numbering of the stones, useful where several are found or exhibited at the same site, usually follows that set by Romilly Allan.

[5] Barry Grove, sculptor: see the Halfmoon.tripod web site at The modern Pictish Stones of Barry Grove (Ed: link broken when checked 2 Oct 2022; same 29 Nov 2022) and the ARCH web site for an article by Susan Kruse Carving Pictish Stones.

[6] Ogham – an early mediaeval alphabet from Ireland. See the web sites: OG(H)AM for a current research project; articles by David Stifter, Maynooth University, e.g. Language and epigraphic culture ‘OGAM’; and ogham.co for history, symbols and translations.

[7] Meigle Sculptured Stone Museum at Historic Environment Scotland.

[8] McManus Art Gallery and Museum, Dundee and the Meffan Institute, Forfar (link to Angus Alive)).

[9] Aberlemno – Historic Environment Scotland web at Aberlemno Sculptured Stones. More at the web pages of Aberlemno Kirk – the Stones. YouTube video Rare Pictish symbol stone found near site of ancient battle.

[10] Kilmadock – stone found by ROOK Rescuers of Old Kilmadock (link to their facebook page).

[11] Burghead excavation, Moray – University of Aberdeen web at Scotland’s largest Pictish Fort and the Burghead Visitor Centre.

[12] Celtic Art The Methods of Construction, by George Bain, Constable and company first impression 1951.

Editor: many thanks to Kathryn Owen for sharing her experiences and drawings of Pictish Beasts. Pictish art is a legacy of global significance, originating in our croplands but appreciated far beyond.

For more art and craft at the Living Field – Ancient and modern – techniques with wool in textile art by Ruth Black, Repurposing grass pea as an embroidered textile and hand made paper by Caroline Hyde-Brown, Owlbirds by Kit Martin, and pages on this site by Jean Duncan and Tina Scopa.

Gool Rider Gool Rider

The gool or corn marigold, for centuries an injurious weed. Its control by monastic order. Its decline in the 1900s and its rarity today except in wildflower seed mixtures. But will its recent reappearance in fields revive the ancient tradition of gool riding?

The gool, the Corn marigold Chrysanthemum segetum, was a pernicious weed. It ravaged the croplands in the middle ages [1], was tamed to a degree by the monastic improvements after 1200, and was finally brought in check late last century by mechanical cultivation and chemical weedkillers. Was it eradicated – not entirely? It’s still with us, seen emerging in stubble this autumn in a few east Perthshire fields.

Of all the main crop pests In Britain, weeds are now considered the most controllable and least damaging, but for most of history they were the scourge of agriculture.

The problem lay in the uncleanliness of saved seed. Corn crops, mainly barley, oats and wheat, were sown each year using seed saved from a previous harvest. If weed seeds were harvested with the corn, then the weeds were sown with the new crop. Seed would also reside for years in the soil ‘seedbank’, so that even if sown corn was clean of weed seeds, some from the seedbank would germinate and emerge when the soil was cultivated.

Good monastic practice

To avoid major weed problems, seed and soil had to be kept low in weed seed over a run of many years. Franklin [1] reports that gool was one of the most troublesome of the weeds that limited corn yields during the period of agricultural improvement initiated by the new monastic houses, such as Coupar, established in the late 1100s. The monks, and the lay brethren who did the farming, were aware of the need to keep seed and fields clean, and were able to achieve good agricultural yields and self-sufficiency.

Gool had such importance that it was named in leases from Coupar Abbey to agricultural tenants in the 1400s. The tenants were charged with certain tasks – to maintain trees and hedges, to include the soil-improving peas and beans along with corn in the rotation, to ‘labour for the gaining of the marsh’ (probably referring to the draining of the Carse of Gowrie) … and to keep the land free of corn marigold. Not everyone was as mindful as the monastics, but to encourage good practice tenants of Coupar Abbey were fined in the 1470s because they allowed gool on their land.

Today, the gool is not a problem. Rather its loss for most fields is seen as a negative. The marigold adds colour to the landscape and offers food for many invertebrates. Crop seed is sourced mainly from specialist seed merchants who ensure that ‘seed’ crops (those grown for seed rather than food or feed) are free of weeds. And even if it were to emerge in fields, modern control measure would remove it.

Gool riders approaching

Imagine being there in those mediaeval times and – weeds being weeds – they have this habit of just turning up whatever measures were taken to control them. Or maybe control lapsed and the gool took advantage and spread, wreaking havoc in the cereal crops.

And then in the early hours, distressed cries shatter the peace – “Gool riders approaching”. People scramble to pull on their clothes rush out to beat up any nearby gools and then head for the woods or whatever hiding place they can find to escape the landlord’s wrath.

Fanciful perhaps, but gool riders were a reality: “certain persons, styled gool-riders were appointed to ride through the fields, search for gool, and carry the law into execution when they discovered it” [1]. The riders were appointed (it seems) by major landowners: fines could be severe – a sheep for a gool.

Time out of mind

How widespread was the pursuit? Both Franklin and the Scots Dictionary [2] cite the one report in the Old Statistical Account [3] for Cargill, Perthshire. The Account was published in 1794 and refers to gool riding only as an old custom, so it is unclear when the riding ceased. The threat of the riders and the fines seemed to have worked because the Account reports that once tenants learnt to control the weed, the ‘gool-riders can hardly discover as many growing stocks of gool, the fine for which will afford them a dinner or a drink.’

There’s another mention of it, this one in Andrew Wight’s travels of 1778 [4]. In the barony of Stobhall, at Campsey (not far from Cargill), he tells of ‘a singular practice, which is called riding the guild‘, whereby a committee of tenants ‘on a certain day in August, examine every field, ….. and for each stalk of that weed found at this time among the corns, the committee fine the tenant in one penny or two pence’ and ‘by the observance of this salutary practice, the whole lands ….. are perfectly clean : whereas if we turn our view to the neighbouring lands, many of the fields are covered with more guild than corn.’

Wight enquired when the law was introduced and reported that ‘The people have no tradition relative to the time and manner of its beginning; only that, in time out of mind, such has been the practice’.

Today the corn marigold is common in sown annual wildflower displays, blending its yellow with the red of poppy and the blue of cornflower. Maybe some escape, the seed falling into people’s wellies and turn-ups, and eventually find their way into fields.

The gool shown in the cereal stubble at the top of this page grew mostly after harvest and flowered late, in October. It might have lain dormant in the seedbank, or came to the field in as a seed impurity or casual immigrant.

In the face of modern competitive crops and weed control, the gool is unlikely to wreak the havoc that it did. Its continued presence and reappearance serve to remind that food security was once threatened by weeds here, as it is now in many other parts of the world, and that there might be opportunity for this attractive plant to coexist with today’s agriculture.

Sources | links

[1] Franklin, T Bedford. 1952. A history of Scottish Farming. Thomas Nelson & Sons Edinburgh.

[2] Old Statistical Account, 1794. Cargill , County of Perth, Volume XIII by Rev Mr J P Bannerman.

[3] The Scottish National Dictionary (1700-) cites many variations including gool, gule, gweel and guild, https://dsl.ac.uk/entry/snd/guil. One entry refers to a guil-sieve as a small mesh sieve in the threshing mill which cleans the corn after it has come through the riddle.

[4] Present State of Husbandry in Scotland 1978, Vol I, page 35. The author Andrew Wight is not credited. Available online, search for the title. More on Andrew Wight’s travels at Great quantities of aquavitae II.

Author/contact for this post: geoff.squire@hutton.ac.uk ot geoff.squire@outlook.com

The Garden at Hospitalfield

The renewed walled garden at Hospitalfield, Arbroath. Monks and medicinals. Artists and gentry. Now community art, a great diversity of plants and a welcoming place to relax.

The Living Field’s experience with medicinal plants led to an invitation to talk about the history and present uses of plants for health and healing at the Beer and Berries Festival to be held at Hospitalfield on 21 August 2021.

The old walled garden there has been re-designed and replanted. It’s had a history from 1260 when Hospitalfield was founded, some time after monks from Kelso Abbey in the Scottish Borders travelled north to establish Arbroath Abbey.

Given all this history and the clear success of the new plantings visible on the Hospitalfield web site [1], it was timely to see the garden first hand before sharing knowledge of medicinals.

A great diversity of plants

In late July 2021, the walled garden nurtured hundreds of flowering species (and some yet to flower), some native to the region but many from Mediterranean and even sub-tropical climatic regions – a great range of textures and exotic smells, teeming with bees and other insects.

Some of the original medicinals recorded from the 1200s had been planted, but also notable species from later in the garden’s history. Their story is related, with drawings, in a book by Laura Darling [2] describing the garden’s history, published this year.

Beer and Berries Festival August 2021

The festival of Beer and Berries will be held at Hospitalfield on 21 August 2021. From the web site [3]: “It’s the height of summer and Angus is bursting with fruit and full of grain …

” Beer and Berries is a “regional festival showcase, connecting food and drink producers and suppliers to buyers and customers, set alongside a programme of talks, workshops, events and music.”

Hospitalfield garden is a gem of a place, where art, horticulture and science come together.

Thanks to Laura Mansfield, for the original invitation to contribute to Beer and Berries, Gillian Stirton from the Hutton communications unit for suggesting the Living Field’s input, and Kate Robinson, head gardener, for correspondence on native and introduced medicinal plants in Scotland.

Author / contact: geoff.squire@hutton.ac.uk or geoff.squire@outlook.com

Sources | links

[1] Hospitalfield at https://hospitalfield.org.uk/

[2] Darling, Laura. 2021. In the garden at Hospitalfield. Published by Hospitalfield, Arbroath, Angus.

[3] Beer and Berries Festival, 21 August 2021 – booking essential: https://hospitalfield.org.uk/visit/events/beer-berries-2021/

Interlacing on the Pictish Ulbster Stone

Thanks to K Owen for this interpretation of the panel of interlacing on the front of the Ulbster Stone, a Pictish cross-slab in Caithness. More to follow ….

Labours of the Months

A note to the Living Field’s exploration of The Year. The Labours in Medieval art and craft. Labours in the remaining Easby church murals, Yorkshire, ca 1250. Adam and Eve in the tradition: delving and spanning. The reformer John Ball. Modern Labours and the Crow.

The ‘Labours of the months’ was an artistic theme that recurred in cathedrals and churches across Europe in the middle ages, typically 1200-1400 AD or 800-600 years ago [1]. The Labours, depicting rural activities through the year, were sometimes paired with the signs of the zodiac. They were crafted in stone, wood and stained glass and occasionally in wall paintings (murals). The great cathedrals of France and Italy display many fine examples.

The Labours had a role in reinforcing power and privilege. In the Très Riches Heures for example [2] the paintings show well turned out peasants about their seasonal activities, but overlooked and dominated by great palaces and castles. And not all the Labours were about the agricultural year: hunting with hawk and dog would also have been the preserve of the wealthy.

So now to Yorkshire …

The Easby Murals

In the church of St Agatha at Easby [3] Yorkshire, four of what are thought to have been 12 murals remain of these Labours of the Months, dated to around 1250 along with several murals depicting scenes from the Bible. There are apparently very few other wall paintings of ‘The Labours’ from medieval Britain, and none to compare with these.

These murals were originally painted on dry plaster, but found covered with lime wash, presumably to prevent them being seen and defaced during Henry VIII’s purges of the monasteries in the mid-1500s. They were uncovered in Victorian times and restored again in 1994 [4]. The remaining 8 have not survived.

A notice in the church states that two of the remaining Labours are from spring, sowing and pruning, and the others, digging and hunting, from winter. Those of sowing and pruning are the best preserved.

The church at that time was next to a monastery, Easby Abbey, now a well kept ruin [5], and the resemblance of monks’ hair styles (tonsures) in the labourers depicted suggests that the painter’s models were working canons from the Abbey rather than common people.

Yet the presence of this ‘Labours’, so close to central Christian themes, and in a humble church, shows the importance of the year’s cycle to the people and the beliefs at that time. As in the great cathedrals, hunting on horseback with a hawk features in one of the four (lower right in the images above). The hawk itself looks more like a crow and not too different from the crow observing the sower.

Who was then the gentleman …?

Another of the murals, not part of the ‘Labours’, but one of a set on early Christian themes, shows Adam digging and Eve sat on a rock or tree stump spinning, symbolic mundane tasks that they would have to do for eternity after their ejection from the Garden in the book of Genesis.

These symbols of husbandry and craft have resonated throughout recent history, not least when the preacher for social justice and equality, John Ball [6] wrote in the 1300s not long after the Easby murals were painted:

“When Adam delved and Eve span, who was then the gentleman.”

He was querying why privilege and power should still so dominate and make miserable the lives of working people in what was purportedly a Christian country. That power was uncomfortable with the idea of social justice and John Ball came to a violent end, being cut into pieces and displayed in different parts of the country.

John Ball’s memory has also been kept in writings and songs, notably that by Sydney Carter [6].

In the mural at St Agatha’s, Adam is fully clothed, and Eve not quite, but in the folk tradition they can be without. In the song “Old Adam” – which has a delving and spanning refrain – is the line “he never paid his tailor’s bills because he wore no clothes” [7].

Modern labours

The Labours of the months was given a new treatment by the writer and artist Clare Leighton in her ‘The Farmers Year’ published in the 1930s [8]. She begins with the Labours of Lambing, Lopping and Threshing, then in the month of April, Sowing; and the time of the engraving is more than 500 years after Easby, yet the farmer is broadcasting by hand, carrying the grain in a basket slung in front of him.

Her sower strikes a similar pose to that in the Easby murals, but with right arm back after flinging the seed. Her sower is more rugged, of the earth, not with smock and tonsure but with weathered face and trousers tied below the knee and having a wife waiting for him at the farm.

Though she admits most sowing and other field work was then done with machinery, Clare Leighton chooses to engrave this sower, and writes ” ….. but here and there a farmer remains who still feels some warmth come up to him from the earth as he strides his fields, and to whom the land is a matter of emotion as well of economics.”

The crow?

The presence of the crow, following the Easby sower, recurs throughout the tradition. Crows observe the human condition, taking advantage where they can. In traditional song, two crows find a ready meal in a new-slain knight, deserted by his dog, his hawk and his lady. The crows are thinking aloud about which of them will feast on the eyes.

Of contemporary artists, Alan Stones has a special eye for crows and ravens [9]. In his lithograph – Brother Sun – a crow observes a man, a shepherd, coiling barbed wire. Another crow flies away low over the field. In a charcoal drawing, two crows peck before a gnarled hawthorn tree. His series ‘Divided self’ show crow-type birds standing on sheep and the series ‘Raven’ brings out the unearthly power of the great black birds.

The murals at St Agatha’s, Easby, are part of a European heritage and a continuing tradition [including colouring-in if that’s your fancy 10].

Contact / author: geoff.squire@hutton.ac.uk, visited St Agatha’s on 9 July 2017.

Sources, references, links

[1] Labours of the months: for general background and examples, see the Wikipedia page https://en.wikipedia.org/wiki/Labours_of_the_Months; and The Paradoxplace web site shows Labours and Zodiac in stained glass at Chartres, France c1217

[2] The illuminated manuscript, Très Riches Heures can be viewed at Public Domain Review: https://publicdomainreview.org/collections/labors-of-the-months-from-the-tres-riches-heures/.

[3] Easby Parish Church – a brief guide. Bargate Publications, Richmond, North Yorkshire, www.bargatepublications.co.uk. A notice on one of the walls states that the murals were originally painted on dry plaster and pre-date the Florentine Giotto (c. 1267-1337) and the Sienese Duccio (active 1278-1319). The church contains a replica of the Easby Cross, of sculpted stone, now in the V&A London. The photographer and historian Stiffleaf has a bank of images at http://www.ipernity.com/tag/stiffleaf/keyword/28360/@/page:69:18

[4] The Easby Church guide states: ‘…. they were uncovered during the Victorian restoration and restored again in 1994 by Perry Lithgow (a company specialising in architectural restoration) assisted by a grant from English Heritage.’ More photographs of the murals can be viewed at Wasleys.org.uk.

[5] Easby Abbey was founded in the 1150s for the Premonstratensian Order, itself founded in about 1121 in Prémontré, in France. The Abbey was destroyed in the 1540s in Henry VIII campaigns. Information at English Heritage http://www.english-heritage.org.uk/visit/places/easby-abbey/

[6] John Ball: the Wikipedia entry gives general background. Sydney Carter wrote the song ‘John Ball’ for the 600th anniversary of the Peasant’s Revolt of 1381. Perceptive commentary at ‘Songs that grow like trees: an appreciation of Sydney Carter (1915-2004)’ on the web site Early Music Muse – musings on medieval, renaissance and traditional music by Ian Pittaway. Chris Wood sings ‘John Ball’ on his album Trespasser: ChrisWoodMusic.

[7] The traditional song “Old Adam” is performed (2016) by Fay Hield and the Hurricane Party on the CD album Old Adam, 2016, Soundpost Records, www.fayhield.com.

[8] Clare Leighton, 1898-1989, writer, artist and engraver. For examples of works, see clairleighton.com. Source: Leighton, C. 1933. The Farmer’s Year – a calendar of English husbandry. Little Toller Books, Dorset.

[9] Alan Stones at www.alanstones.co.uk. ‘Brother Sun’ and other early lithographs can be viewed at Lithographs – Farming (1984-1992); crows and ravens at Lithographs (1996-1999).

[10] Institute for Medieval Studies University of Leeds
Downloadable page for colouring, Labours of the Months, January to March https://www.leeds.ac.uk/arts/download/2753/labours_of_the_months

[Edited 17 September 2017]