Brick Candle Holders From Scotland And Beyond

Some of a new batch of brick candle holders during the warmer months. In the freezing cold Scottish weather, I learnt that (a) soaking bricks in at least three changes of cold water (in large tubs) and (b) putting on full waterproofs over many layers to core and clean these isn’t that much fun!

In addition to some Scottish bricks I found on various East Lothian beaches (Edinburgh, Niddrie and Roslin), I also found this one from the Lumley Brick Co, Fence Houses, County Durham;

Lumley Brick Company produced enamel bricks in four colours and this one still has small remnants of cream enamel on the ‘frog’ (the indent with the name) and on the base. This brickworks was in existence from the 1870’s to 1938 (information from the very comprehensive ‘Old Bricks – history at your feet’ website, click here).

Further afield, on our travels to the Peak District, I found a few of these lovely deep red/purple Stafford C&I (coal and iron) Co Ltd bricks. From the website above, I discovered that the Stafford Coal & Iron Company brickworks were located in Stoke on Trent from 1874 to the 1960’s. It’s thought that these red and purple bricks were produced sometime between 1874 and 1947;

However, my favourite recent acquisition (thanks to my in-laws) are these terracotta bricks from the Charente region in southern France. These antique bricks are around 200 years old and feature a beautiful stylised foliage design. Trying to find the exact brick/tile works that made these proved to be a bit difficult, but my wife did a bit of research and we think these were made by Tuilerie Delage brickworks in Chardat (established in 1825);

These (and many more) brick candle holders can be purchased from my Etsy shop- just follow this link.

Wolf Moon Elder Futhark Runes And The Sacred Magick Of A River Confluence

One event that has become a bit of a HatchBurnCarve Yuletide tradition is the annual gathering of stones for the creation of runes in the coming year. Every year we try to visit the confluence of the Leithen Water and the River Tweed in the short, dark, cold and liminal days between Yule and Hogmanay. My latest batch of runes were made from stones gathered on the night when the Wolf Moon coincided with Nollaig Bheag (Little or Old Christmas). There are some sets for sale in my Etsy shop- just follow this link.

The place where two rivers meet is considered to be sacred and magickal by many cultures worldwide. In Hindu tradition, the ‘Triveni Sangam’ (confluence) in Prayagraj is the auspicious place where three rivers meet; the Ganges, the Yamuna and the Sarasvati. Only the Ganges and Yamuna are visible- the Sarasvati is an invisible mythological river that is said to join the other two from below the ground. This place is one of four Kumbh Mela sites.

In the Grand Canyon National Park, Arizona, is a site where the Colorado and Little Colorado Rivers meet- simply known as ‘The Confluence‘, or the ‘Sipapuni’ for those people of the Hopi Tribe. This area is sacred to seven tribes including the Zuni, Hopi and Navajo. The Sipapuni is a path or link to the underworld, where the Hopi ancestors emerged from that world into this. For all who hold this place sacred, it’s a life-source, a place to speak to gods.

Closer to home, there was (still is?) Condatis- the ancient Celtic god of confluences who was worshipped around the time of the Roman occupation in Britain and also in Gaul (Condatis is Gaulish for ‘confluence’). Altar inscriptions to Condatis have been found in County Durham and there is one instance of the name appearing in Scotland. Around the time when the Antonine Wall was built (142 AD), the Romans established a fort to the east of this at Cramond (a suburb of Edinburgh). Among the many excavated artefacts, an altar stone was found with the words ‘D M CONDATI’- ‘to the god Mercury from Condatus’.

There are theories and evidence that river confluences were also important to the Picts. Despite the complete lack of Pictish manuscripts, we continue to speak their words to this day. There are two related Celtic placename prefixes that denote a confluence (or river mouth), these being ‘Inver’ and ‘Aber’. The differences depend on the origin or country of the language; P-Celtic/Brythonic (i.e. Welsh, Cornish, Breton) and Q-Celtic/Goidelic (i.e. Scots, Irish and Manx Gaelic). Furthermore, the P-/Q- differences depended on the pronunciation of the letter ‘Q’ from the ancestral Proto-Celtic language; the Brythonics pronounced it as ‘p’ whereas the Goidelics simplified it to a ‘c’. The Picts spoke P-Celtic and with the word ‘aber’ it’s been suggested that the Picts viewed these locations as sacred natural sites and a number of Pictish monuments have been found at, or close to, confluences. The equivalent ‘Inver’ derives from the Q-Celtic (Scots Gaelic) ‘inbhir’ and this has further transformed to ‘inner’ in a few Scottish placenames, such as Innerleithen (the confluence of the Leithen).

Which brings me back to the site where the stones are collected to make runes. The stones gathered this year (2023) were collected by the light of the Wolf Moon on the night of Nollaig Bheag or ‘Little Christmas’ (6th January). The origin of Nollaig Bheag dates back to the replacement of the Julian with the Gregorian calendar and it’s still celebrated in some parts of the Highlands. The full moon in January is known as the ‘Wolf Moon’ as wolves mournfully howl at it due to the lack of midwinter prey. On that night, although I was unaware of any howling, the moon rose above the pine trees on the very steep hillside above the confluence illuminating the stony river shores. In the freezing moonlight of Old Christmas, I gathered stones with disinterested-interest, allowing my instinct to guide me with only Yuletide ghosts and pagan gods for company, on the edge of perception in this place of liminality.

I started writing this article with the sole intention of sharing some of my new Elder Futhark runes and to highlight some examples of sacred river confluences in global cultures, religion and folklore. However, I was soon lost down a rather interesting rabbit-hole and spent (too many) hours reading articles on the topic- the information above being a very condensed version of this. Although I was aware of the inherent magick of a confluence, I had little idea how these places have permeated, and continue to do so, our universal consciousness and it would seem that practically every ancient culture has been aware of the liminality of these sacred sites, how they are portals to the hidden and paths to the underworld. These are the places inhabited by gods and haunted by spirits.

I’ll finish this with words I read in one of the research papers linked above. It’s a reminder that in connecting with these sacred places, we connect not only with nature, but with our ancestors, ancient gods, magick and universal consciousness. Many of these places are under constant threat from so-called ‘development’ and exploitation. Some of the tribes and nations mentioned above are faced with constant struggle and battles to protect what inherently and rightly belongs to them.

“We all suffer from…separation of people and place, but we do not all suffer equally. We must reflect on how our efforts continue such separation, such continued colonization, if we are to save what is sacred in the Confluence….and, ultimately, in ourselves.”

References;

Ellis and Perry (2020) ‘A Confluence of Anticolonial Pathways for Indigenous Sacred Site Protection’ Journal of Contemporary Water Research & Education, 169 (1), 8-26.

Cramond Vicus From the Roman Britain website

Sicut rivulus descendit in Massat: A lost Pictish cultic site? From Rabbit Holes of Early Medieval Scotland website.

Lepus Melangell- A Commission in Honour of the Patron Saint of Hares

‘Lepus Melangell’ (© HatchBurnCarve). Carved from a 32 x 23.5 x 2 cm piece of reclaimed slate. The carved design incorporates the outline of the hare I’ve used on a number of occasions along with a stylised Carolingian cross (consisting of four interlinked triquetras) elongated and compressed to fit within the hare.

My customer also requested a rock art design based on constellations, specifically those around the Pole Star that they see from their garden. With this in mind, the carvings below the hare are based on Polaris (the North Star) with Ursa Major (the Plough or Big Dipper) and Cassiopeia. Once I’d carved the hare and removed the material around it with bull-nose chisels, I had the idea to stipple the entire area to provide more contrast, so thousands of small indents later….! I shared images of progress with my customer at each stage and, after applying gold enamel to the Carolingian cross, they suggested a silver enamel background to contrast this, represent moonlight and continue the night sky theme.

This commission was to reflect my customers love of hares as well as the shrine of St Melangell, near Llangynog in Powys. Melangell was a 7th Century saint who travelled from Ireland to live as a hermit at the site where her church now stands. According to legend, she rescued a hare that was being pursued by a pack of hounds and hid it in her cloak. Following this act of kindness, she became the patron saint of hares. As with many ancient shrines, the site of her church dates back thousands of years before Christianity came to this country. The church sits within a circular churchyard in the Berwyn Mountains, surrounded by 2000 year old yew trees encircling a site of Bronze Age burials.

Pictish/Celtic/Scythian and Rock Art Design Tea Towels

I really have to thank my wife and one of our sons for planting and nurturing the ‘tea towel’ seed in my mind a number of years ago! I finally had two designs printed (in the first instance) using original art I’d created for my greeting cards.

These have been printed in the UK on 100% cotton (superior quality 270 gsm/8 oz). They are hemmed on all four sides, measure 78 x 50 cm (30 x 19 inches) and are machine washable at 30 Degrees.

The first design is ‘Lepus Celestine’ (strictly © HatchBurnCarve) that features a hare leaping over rock art, or cup-and-ring marks, based on the carvings found at Cairnbaan in Kilmartin Glen, Argyll;

The second design ‘From Altai to Grampia’ (strictly © HatchBurnCarve) features two stags that are based on the Pictish carved stone from Grantown-On-Spey (now in the National Museum of Scotland, Edinburgh). Drawing upon ancient Scythian art, specifically tattoo designs such as those found on the ice mummies from the Altai mountains of south-east Siberia, I imagined how a Scythian might reinterpret the Pictish stags, or vice-versa;

For more information and images on each tea towel, please follow this link to my Etsy shop where they are now available to purchase.

Stepping Stones for Greener Peebles Community Garden and Scotland’s Year of Stories

Greener Peebles (in the Borders town of the same name) is a Scottish charity that offers over 2500 volunteering hours annually to all ages and all abilities. Through their community garden, they provide free food for all volunteers in addition to pick-your-own days for the whole community. Scotland’s Year of Stories was commemorated in 2022, a year in which stories from, or inspired by, Scotland are celebrated, written, created and read. Greener Peebles was one of the charities that have benefited from community funding and among the many events, they have created a permanent art trail in the garden.

When they approached me to ask if I would create three stepping stones for the garden, I was delighted! My stones form a cohesive link between the entrance to the garden and a piece carved from wood in the pine trees at the back (created by Nik Savage).

Stepping across the stones;

‘I Remember When…’

Towards the trees where you’ll find the wooden seat of the Story Swing and;

‘The sun rose through these pines again’

To create the stones I chose two large slabs of reclaimed Caithness flag stone. I wanted to use a stone that had a textured surface and working (a little) with Caithness stone before, I love the contrast between the natural muddy-brown surface and the almost obsidian or jet-like quality of the stone when it is worked and polished. Using my angle-grinder, I partly cut through the largest slab to form the ‘remember’ and ‘when’ stones, finally separating them using a claw chisel. I randomly ground and cut the edges of all three stone with my claw chisel and angle-grinder to give them a more ‘natural’ look and feel. Following this, I started sanding and polishing- from 80 grade with my Makita finishing sander, another two grades using this, then onto hand sanding with wet-and-dry paper down to 1200 grade.

The lettering I choose was based on the Book of Kells quill formations from the George Bain Celtic Art book. After drawing the individual letters and getting the visual spacing correct between each one, I transferred the words to the stone slabs using white carbon paper. I was finally ready to start carving and thoroughly enjoyed this. Much time was spent keeping my chisels sharp due to the hardness of Caithness stone These stones are really the first large V-cut lettering pieces I’ve done and despite the riven (uneven) surface, the hardness of Caithness stone and the letter style, my client and I were very pleased with the final result.

On site, the stones were aligned in respect to each other, trenches cut and levelled, and the bottom filled with a thick bed of Semi-dry mortar mix.

New Pictish and Celtic Greeting Cards

ALL OF THESE DESIGNS ARE STRICTLY COPYRIGHT (2023, HATCHBURNCARVE).

Continuing my card designs from the first four that I produced last year, I took some time away from carving to create my next ones. I start my pencil sketches with an idea of the animals that I’d like to draw- some from traditional Pictish carvings (such as the boar and stag), others from my own designs I’ve previously used for slate carvings (such as the squirrel) and often using a large variety of source materials (photographs and anatomical drawings) to sketch the outlines (for example, the buzzard in the cards below).

Once I’ve finalised the outlines, I decide on the Pictish or Celtic designs that will fill the interior spaces. I often make copies of the outlines and try out a number of ideas (also involves much pencil sharpenings and erasers!). I started drawing Celtic and Pictish designs around 40 years ago, so I’m familiar with the majority of Pictish carvings, though I still refer to a few of my books if I’m looking for an idea to fill a shape (or I’m searching for a location-specific design). My two main ‘go-to’ books are ‘Celtic Art: The Methods of Construction’ by George Bain and the ‘Early Christian Monuments of Scotland’ by John Romilly Allen and Joseph Anderson.

Many of the knotwork panels in my drawings pose various problems of interlacing (such as those in the squirrels card) and it’s usually late at night when I’m really tired that the solution will suddenly pop in my head, so I have to draw it on any scrap of paper to hand (usual back of the envelope type stuff!).

The cards are available in my Etsy shop, or from the retailers listed in the post about my first four designs.

‘From Altai to Grampia’ (© 2023, HatchBurnCarve)

‘The Sky Above Meigle’ (© 2023, HatchBurnCarve)

‘The Forest Dwellers’ (© 2023, HatchBurnCarve)

‘Scrofus Dál Riata’ (© 2023, HatchBurnCarve)

One again, these cards have been expertly reproduced by Pennybatch fine art printers. They measure 178 mm x 127 mm (5″ x 7″ landscape) and are blank inside. They’re printed on 100% recycled matt card (300 gsm) with a 100% recycled Eco Kraft Brown envelope (115 gsm).

More information on each of the designs;

From Altai to Grampia (stags)

The stags are based on the Pictish carving that was found at Grantown-on-Spey (now in the National Museum of Scotland, Edinburgh), but seen through the lens of the twisted animals from the Scythian culture (such as the tattooed Scythian ice-mummies mainly found in the Altai mountains of south-east Siberia).

The Sky Above Meigle (buzzard)

A stylised Pictish/Celtic buzzard drawn as it is landing on an unseen perch. Behind the bird, a circular Celtic knot similar to those found carved on stones at both St Vigeans and Meigle.

The Forest Dwellers (squirrels)

The outline of the squirrels was adapted from one of my slate carving designs. The internal Pictish Crescent and V-Rod symbols were influenced by the carvings found on the ‘Skinnet Stone’. This cross-slab was found built into the wall of a chapel near Thurso and is now housed in the North Coast Visitor Centre.

Scrofus Dál Riata (boar)

The boar was adapted from carvings found on four Class I Pictish stones and at Dunadd fort in Kilmartin Glen. This site is believed to have been the capital of the Gaelic kingdom of Dál Riata. I have carved this boar around a hundred times and in doing so, I quickly became aware of the suggestion of an axe head in the line that extends from the trailing front leg. I expanded this idea/insight and ‘Scrofus Dál Riata’ includes a full bronze age socketed axe head within the body of the boar.
Surrounding the boar are more simplified axe heads from the carvings found at Nether Largie north cairn and Ri Cruin cairn, both in Kilmartin Glen.

Oak and Slate Reliquary or Ashes Casket

This was commissioned by one of my regular customers in NYC. Made using oak with a carved slate lid inlay (14 x 9 x 9.3 cm). The slate was carved with the name in Elder Futhark runes along with a cup-and-ring/rock art design based on Aquila (the eagle) constellation.

I had an old 1940s jewellery box that belonged to my grandparents- it was beyond a state where it could be restored, though I saved the brass hinges for a special project and decided to use them for this magickal box. The other brass components (screws and hasp/staple) were bought new. After trying various solutions to age them (vinegar, bicarbonate of soda, etc.), the method I finally used was to soak them in Mr Muscle drain unblocker! I found that this gel produced a lovely deep patina on the brass within minutes.

I’d like to thank my friend Doug for his woodworking skills in helping me with the routing of the lid and ensuring an even thickness of the oak with his planer-thicknesser.

Relief Carved Elder Futhark Runes- An Enabling Set for Blind and Partially Sighted

In March 2022, I received an email asking if I would consider making a set of Elder Futhark runes for a person who is fully blind. They explained that the problem with using standard runes is they had to run their nail through each to interpret which one it was.

Working closely with my customer, we determined that the best option would be a relief carved rune on each of the 24 stones with a contrasting textured background.

I made this set using stones found at the confluence of two rivers in the Scottish Borders (the Leithen Water and River Tweed) that were collected in the liminal days between Yule and Hogmanay 2021. Each stone is around 4 to 5 cm and the surface of each rune was made smooth using wet and dry paper to provide a greater contrast in tactility against the ‘textured’ area. The feedback I received was wonderful and humbling “I don’t know how I can express my gratitude for these beautiful stones. I am blown away with the quality and the workmanship- I can feel every rune, every line and every swirl. Thank you again and again” It was an absolute pleasure working with this customer and being given the opportunity to create something enabling in this ableist society we live in.

I’ve been commissioned to make another set of these enabling runes and if you have difficulty using or reading standard sets, please email me (hatchburncarve@yahoo.co.uk) or use the contact form in the ‘About Me/Ordering Items’ section on this website.

Celtic, Pictish and Rock Art Greeting Cards

ALL OF THESE DESIGNS ARE STRICTLY COPYRIGHT (2022, HATCHBURNCARVE).

Another episode of covid earlier this year found me unable to do much in the way of carving or practical work. However, I was keen to get back to drawing purely for pleasure and that was the ideal opportunity. I’ve amassed a whole box file and a number of drawing pads full of my own designs over the years, some of which I have used to carve slate and stone (and anyone who keeps up to date with my work may recognise some of the outlines of these animals).

‘Lepus Celestine’ (© 2022, HatchBurnCarve)

I’ve drawn four designs to date and plan to create a total of 12 Pictish/Celtic animals. Each design is hand drawn using Mircon, Uni-Pin and Pilot fine-liner drawing pens, and the cards have been beautifully reproduced by Pennybatch fine art printers based in Somerset. The cards measure 178 mm wide x 127 mm high (5″ x 7″ landscape) and are blank inside. They’re printed on 100% recycled matt card (300 gsm) with a 100% recycled Eco Kraft Brown envelope (115 gsm) wrapped in a cellophane bag.

‘Canis Major’ (© 2022, HatchBurnCarve)

‘Kellas Grampia’ (© 2022, HatchBurnCarve)

‘Torrs Horse’ (© 2022, HatchBurnCarve)

These are available to buy from my Etsy shop- just follow this link. They’re also currently available from the following shops/museums (with more outlets planned);

Detailed information on each of the designs;

Lepus Celestine (hare)

The outline of the hare was adapted from an original slate carving design I had drawn and the loose, free-flowing, internal design is influenced by Celtic and Pictish art. The hare leaps over cup-and-ring marks/rock art based on the carvings found at Cairnbaan in Kilmartin Glen, Argyll.

Canis Major (hound)

The outline of the hound was adapted from an original slate carving design I had drawn and the internal design is influenced by Pictish spirals, a Celtic triskelion and knot. Above the hound hangs the constellation of Canis Major reinterpreted as cup-and-ring marks/rock art. Below the hound sits the Canis Minor constellation as rock art.

Kellas Grampia (cat)

The outline of this cat was based on a slate memorial that I made earlier this year. The free-flowing internal design is based on Celtic triquetras, triskelions and Pictish spirals. The Kellas Cat was a Scottish mythological animal and remained so until a specimen was found in 1984. A hybrid between a domestic cat and the Scottish Wildcat (Felis silvestris grampia), it’s thought that a carving on the Class II Pictish stone found at Golspie may represent a Kellas Cat.

Torrs Horse

The outline of the horse was adapted from an original slate carving design I had drawn and the internal design is influenced by the Iron Age pony cap found at Torrs, near Castle Douglas in Dumfries and Galloway. Dating to around 250 BC, the elaborate decoration on this bronze chamfron has been described as one of the most important pieces of Iron Age art ever found in Britain. The design also includes Celtic knotwork, triquetras and triskelions.

Runic Cross Plaques and the Stone That Doesn’t Make Sense

Four new copper and gold ‘Runic Cross’ plaques (one 13 x 16 cm, three 10 x 16 cm). Hand cut, carved and polished from pieces of reclaimed roofing slates. Finished with metallic gold or metallic copper sign-writers enamel and a coat of Lithofin MN slate protector/enhancer. These are available to buy only from The Hub On The High Street in Innerleithen.

This cup-ring-channel design is based on the carvings found on the ‘Runic Cross’ that is now housed inside a church in Innerleithen, Scottish Borders. Having carved this design a few times, I’m always left wondering about the ‘Runic Cross’ stone- it just doesn’t make sense in any archaeological context!

The stone was discovered by a local master builder and stonemason, Robert Mathison, in 1871. He was demolishing the old Parish Church in Innerleithen with a view to reusing the stone to build another house in the town. During the work he found in ‘the lowest course of mason work of the south side wall’ a white sandstone block around 81 cm high carved on all four sides with cups, rings and channels.

The earliest published account of the discovery that I have found is from Volume 9 of the History of the Berwickshire Naturalists’ Club printed in 1882. It is often stated that this stone was an early cross shaft found with the original base which was broken up, but in Mathison’s account of the discovery, he makes no mention of the base and doesn’t allude to the fact that this was once a complete cross. In Mathison’s drawing of the west face of the stone, it’s titled as a ‘sculptured pillar’. The introduction to his account states that the stone was ‘perhaps’ the shaft of an ancient cross, but this was written by James Hardy, not Mathison. It should also be noted that the carving on the east face of the stone is complete (within the 81 cm height).

If this was a highly-revered Christian relic as it’s often claimed, then why was it used in the lowest foundations of the church? Does this carved stone not represent another example of a monument that was ‘Christianised’ by having a church built on top?

Although I’m alluding to the fact that the carvings on this stone are similar to Early Bronze Age rock art (with the motifs of cupmarks, complete rings, gapped rings and variants), again, this doesn’t really make sense. The stone is almost rectangular in section with carvings on all four sides- I have yet to see anything resembling this in rock art databases, books and publications.

We’re back to Robert Mathison who wasn’t only a stonemason, but also a keen historian and amateur archaeologist. In 1871, he also built a house for himself (using sandstone in the construction) which he named ‘Runic Cross’. The stone he found in the foundation material of the church was on display in the garden of his house for a number of years. Could it be (and this is a bit of a jump to a conclusion!) that the ‘Runic Cross’ was actually the work of Mathison himself as a small garden folly (that was a trend in the 18th and 19th Centuries) to create a mythology around his house?

If you have ideas, insights or further information, I’d be very interested to hear your thoughts!

References;

https://canmore.org.uk/site/53174/innerleithen-parish-church

https://portal.historicenvironment.scot/designation/LB51090

https://www.pastinnerleithen.com/people/robert-mathison

https://archive.org/details/historyofberwick09berw/page/n575/mode/2up