Eight rare poems, written at Iona monastery between 563AD and the early 8th century, translated from the original Latin and Gaelic and fully annotated with literary commentary.
From the recovery after the Irish Potato Famine in the 1840s to the booming Celtic Tiger of the 1990s, a revival of the ancient traditions of Celtic jewelry have become a part of how the Irish, as well as the Scots, Welsh and other Celts have expressed their cultural identity. Usually the story of this tradition focuses on very old prototypes, the museum pieces turned up by archaeologists or the legend of the original Claddagh ring. In our imagination, we connect the popular Celtic jewelry of today with the distant past. But that link with the ancient style was very much influenced by what others had done in more recent history. The story of is told by four authors. Tara Kelly writes of the early Celtic Revival manufacture of facsimiles of medieval Irish metalwork in Victorian Dublin and how the success of that enterprise lead to historical Celtic jewellery to become iconic symbols of Irish identity. Mairi MacArthur tells the story of Alexander and Euphemia Ritchie who created the foundation for modern Scottish Celtic jewellery on the Isle of Iona in the early 20th century. Aidan Breen, himself a pioneer of the late 20th century Celtic Renaissance, recalls his career beginning with an apprenticeship with Dublin silversmiths which trained him in the traditions of the older Celtic Revival. Stephen Walker, craftsman and collector, brings the story together as it spans 150 years, from Scottish pebble jewellery to the innovative modern Celtic creations of the Arts and Crafts Movement. 69 color photographs and 29 black and white illustrations.
Eight rare poems, written at Iona monastery between 563AD and the early 8th century, translated from the original Latin and Gaelic and fully annotated with literary commentary.
When strange signs appeared in the sky over Québec during the autumn of 1660, people began to worry about evil forces in their midst. They feared that witches and magicians had arrived in the colony, and a teenaged servant named Barbe Hallay started to act as if she were possessed. The community tried to make sense of what was happening, and why. Priests and nuns performed rituals to drive the demons away, while the bishop and the governor argued about how to investigate their suspicions of witchcraft. A local miller named Daniel Vuil, accused of using his knowledge of the dark arts to torment Hallay, was imprisoned and then executed. Stories of the demonic infestation circulated through the small settlement on the St Lawrence River for several years. In The Possession of Barbe Hallay Mairi Cowan revisits these stories to understand the everyday experiences and deep anxieties of people in New France. Her findings offer insight into beliefs about demonology and witchcraft, the limits of acceptable adolescent behaviour, the dissonance between a Catholic colony in theory and the church’s wavering influence in practice, the contested authority accorded to women as healers, and the insecurities of the colonial project. As the people living through the events knew at the time, and as this study reveals, New France was in a precarious position. The Possession of Barbe Hallay is both a fascinating account of a case of demonic possession and an accessible introduction to social and religious history in early modern North America.
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