Boudicca and the Iceni

Statue of Boudicca
Westminster Bridge, London

When it comes to the history of Iron Age and Roman Britain, there are few historical personages that have fired the imagination so much as Boudicca, Queen of the Iceni. She was a strong leader and fierce warrior, whose popular image is both tragic and romantic. If you have ever been to London, near the Houses of Parliament, you will have seen the beautiful bronze statue of Boudicca by Thomas Thornycroft, erected near Westminster Bridge in 1902.

Last week, BBC on-line posted an article about a recent find. It seems that a causeway built around 75 B.C. by the Iceni tribe, who lived in what is now Norfolk and Suffolk in eastern England, was found by archaeologists in and around the area of Geldeston. Exact dating has yet to be carried out but the preliminary results date it to about 100 years prior to the Roman invasion of Britain against which Boudicca was a key force. The causeway was, of course, built before Boudicca lived but it is an exciting find. As it was a major route of her kingdom, she may well have travelled it. Apparently, the actual wooden posts are so well preserved by the peat that they look modern and all of the tool marks are still visible.

The road that ran through the wetlands was 4 meters wide and ran for 500 meters across the marshes. Archaeologists believe that the route was likely used for trade, boundaries and to allow the Iceni access to sacred places – swords and other weapons are often found in water where the Celts would have made offerings to the gods.

Roman Legionaries

The main source for the period is Tacitus whose father-in-law was Gnaeus Julius Agricola, who campaigned into northern Scotland and was a tribune under the command of Suetonius Paulinus, Governor of Britain, circa A.D. 60. When Boudicca’s husband, King Prasutagus, a nominal ally of Rome, died he left his kingdom to his two daughters and the Emperor of Rome to rule jointly. Rome did not honour the king’s will. Roman financiers took over everything, Boudicca was flogged and her daughters raped. Definitely the makings of a rebellion.

The uprising began while Governor Paulinus was in Mona (Anglesey) to crush the druid stronghold. Boudicca’s forces subsequently defeated Rome in several engagements and sacked the cities of Camulodunum, Londinium and Verulamium. In the end, Roman forces prevailed and at the final battle, according to Tacitus, over 80,000 Britons died with Roman casualties under 1000. Hard numbers to swallow and which should be taken with a grain of salt as history, as we know, is written by the victors. Would Rome want to give much sway to a female opponent who delivered some heavy hits to its ego? Probably not.

There is of course no shortage of historical fiction when it comes to Queen Boudicca. She is the stuff of legend. Books and series from such writers as Manda Scott, Simon Scarrow, Rosemary Sutcliff and Pauline Gedge are but a few of the good ones. There are others.

Cover of George Shipway's
Imperial Governor

A book with a difference which I read a couple of years ago and which I would highly recommend is George Shipway’s Imperial Governor. Shipway was a British writer of historical fiction who had also served in the British military in the Indian Cavalry until 1946. He combined his love of history with his military experience to create a novel with a difference. The insights are unique (the book is in Governor Paulinus’ voice) and his battle scenes, particularly those involving cavalry, very real. Shipway also wrote several novels set in the middle ages and one set in the Bronze Age the subject of which is none other than Agamemnon. I have only read Imperial Governor at this point but if that book is any indication of the quality of the others, they too will be added to my reading list.

History in Music

Frank Turner
England Keep My Bones
Album Cover

I wanted to write about something a bit different this posting. Now obviously, historical fiction feeds itself on, well, history. Ok, that’s trite. Everyone is inspired by history in one form or another, be it something personal that happened ten years ago or something affecting nations or peoples thousands of years ago. Experiences help artists to create and enrich their creations, be it a novel, a sculpture or painting, a film or a piece of music.

For the past year now I’ve been listening to the music of a particular artist that I wanted to bring to your attention. His name is Frank Turner and he is a folk/punk musician from Winchester, England. He is also a history nut which, on these pages at least, counts for a lot. I spoke with Frank at his last show in Toronto, at the El Mocambo, and he was very gracious and polite despite being mobbed by fans of all ages. He was there at the t-shirt table, talking with folks, taking photos and shaking hands even though he was about to hit the stage in a few minutes. No pretence or arrogance to be found.

Frank Turner’s music is pretty wide ranging, from rebellious punk lyrics and rhythms to nostalgic reminiscences of his beloved England. His love of history creeps into his songs and lyrics on a regular basis. The title tune of his 2008 album, Love, Ire and Song, has references to the 1905 Russian Revolution as well as the Life Brigade search and rescue organization founded in Tynemouth in the 1860s. On his album, Poetry of the Deed, the song Journey of the Magi is a wonderful tune with lyrics referring to Moses, Odysseus and Balthazar. Fantastic songs as well as all the other offerings on the albums.

At the beginning of June, Frank released his latest studio album, England Keep My Bones, the title of which is a quote from Shakespeare’s King John. On this album Frank explores the land he loves and no doubt misses very much while on tour – something he is constantly doing. One particularly gutsy song on the album is English Curse. This is a pro-Saxon, a capella number about the assassination of William Rufus in the New Forest. When I saw Frank perform this tune live back in May, he sang this song and, despite the head-scratching “What the hell is this?” looks on some of the younger faces in the crowd, it sounded brilliant. He had people cheering, if not for the story, then for the fact that he did without his guitar.

So, if you like history (which I assume you do if you are reading this blog) and music, check out a great, hard-working, independent artist and modern-day troubadour. Frank Turner’s website is: http://www.frank-turner.com/

He’s on tour again so, if you have the chance, go. You won’t be disappointed.

Blood and History

Interior of the Colosseum in Rome

It is a comforting thing to stroll down the streets of my urban environment, past cafés and open air restaurants, boutiques, health food shops and books stores. People are enjoying being outside again, eating ice cream and walking en famille. Modern advertisement provides something of a clash of titans in the form of large UFC posters outside various pubs and a soon-to-be-open sports bar fronted by Corinthian columns. Pictures of these modern arena champions provide a backdrop to girls in pigtails and boys in baseball caps.

I am surprised to a point by the prominence of these posters and the large following that UFC has developed. Many people I know block off UFC nights on their calendars so that no other event can displace it. It seems that modern bloodsport is alive and well in our society, be it bull fighting in Spain or UFC in America. “Bread and circuses” as the saying went. Gone are the theatrical, chair-smashing displays of the WWF – what folks want is the real deal, a good punch to the head and some blood on the floor.


Spartacus: Blood and Sand
Actor Andy Whitfield as Spartacus

I recently borrowed season one of the show Spartacus: Blood and Sand from the library and the popularity of that show is understandable. Last time I looked there were 259 holds on 15 copies in the world’s busiest library system here in Toronto. There is a lot of blood, à la 300, and loads of sex. And as we all know, that stuff sells! Death, or otherwise, by the sword is a show-stopper and has been for thousands of years. Wrap the sensationalism in a historic package and most of the time you’ll have even the most conservative historian’s interest piqued, though they might not admit it.

I do the show an injustice however, by suggesting that it is popular purely for its sensational gore and sexual play. Beyond that is some solid research into the function of a ludus (gladiatorial school), the role and popularity of the gladiatorial games and the gladiators themselves, both gods and slaves at the same time. One will meet the ‘editor’ of the games, the ‘lanista’ too, and see how gladiatorial contests, after their original role as funerary rituals, were one of the most effective political weapons to be wielded in efforts to win the favour of the Roman mob. These are not however, the gladiators of Stanley Kubric’s epic Spartacus, as wonderful as that movie is.


Kirk Douglas as Spartacus

 The real draw, though many may not realize it, behind the Murmillo and Thraex’s iron visors is the solid storyline and cast of conflicted, imperfect characters, including Spartacus himself, played by Welsh actor Andy Whitfield. We all know when we are gripped so by a story that we can’t get enough, that we have to push on, be it a TV series or a book of historical fiction. If you’ve got a solid story with well developed characters, you’ve got a mighty hook that few will be able to rip free of. There is loads of tension interspersed with tender, hypnotic moments of memory. To me, the sex and gore, fun as they are, take a back seat to the well-written, well-thought-out story.


Jean Leon Gerome's famous painting

 At a writer’s conference some years ago, there was a literary agent there who believed that only books with tension on “every page” were going to be successful. He gave courses about this, sold books and I think, videos too. I’m not sure how most of you might feel about that but as for myself, I tend to disagree. I do agree that tension is a powerful tool that will keep you turning pages. However, in my opinion that is also a little exhausting. If I read a novel that is fast paced, action-packed and tense all the way through, I find it hard to pick out any one scene that has really made a mark on my memory.

Would it not be better to intersperse tension with calm, with peace? As a writer I prefer to lull my audience a bit before hitting them over the head, the impact being much more memorable. Conversely, following a tense moment with calm can provide some needed relief and reflection. Spartacus: Blood and Sand balances tension and calm beautifully, all wrapped in a great story and though it is made in a visual medium, the same can, depending on your personal tastes, be done effectively in writing.

If Gladiators are your thing, an excellent reference book that looks at the history of gladiatorial combat and the various styles of gladiators is Gladiators and Caesars: The Power of Spectacle in Ancient Rome, edited by Eckart Kohne and Cornelia Ewigleben. It’s a very accessible look into the lives and myth of gladiators and the power they held over the people of ancient Rome, as they do over us today.


Amphitheatre of Thysdrus (El Jem)
Tunisia, North Africa



An Eagle in the Snow

Greetings everyone! Well, finally the warmer weather is upon us in Toronto. This felt like one of the longest winters ever but the snow and cold that we experienced over recent months did not deter me from getting out to some great bookstores to find some hidden gems. And did I find one!

Many of you who are die-hard historical fiction seekers may already have read Eagle in the Snow by Wallace Breem but for me, it was one of those books that I spotted once in a while but never actually put down the cash to buy it. There was always something else that grabbed my interest first. This time however, I thought “Ok. This is the umpteenth time this book has popped up. I’d better get it.”



The Drusus Monument
Moguntiacum (Mainz)



Eagle in the Snow is one of those books that has a perfect balance of fact, fiction, character development and action. Not once is storyline sacrificed on the altar of historical accuracy as is so often the case…and vice versa.

Wallace Breem, who was a British librarian, wrote Eagle in the Snow in 1970. The main character, Paulinus Gaius Maximus, is pulled from his command on Hadrian’s Wall at the end of the 4th century by General Stilicho to hold the Rhine defences at all costs against the increasing pressures of the Vandals, Alemanni, Marcomanni, Alans and the Quadi who are in turn being pushed west by the Huns. His base of operations is Moguntiacum, modern Mainz, Germany where you can still see remnants of the Roman presence in the area. Maximus, who is a follower of Mithras, faces not only his enemy in war but also Christians, both barbarian and Roman, adding a whole other dimension to the story. As a nearly flawless general he is loved by his troops who want to raise him to the purple but at the same time, he is a man with his own painful past, making him wonderfully vulnerable.



Roman Aqueduct
Moguntiacum (Mainz)

  For the Romanophiles out there this is a particularly poignant story and time in which it becomes obvious that the Roman Empire, along with its ageing generals and Legions, its very traditions, is teetering on the verge of utter collapse. This is also an important period for followers of the Arthurian tradition in that this is the time when, because of the very pressures being experienced along the Rhine and other frontiers, the Legions are withdrawn from Britannia and the Britons are told to look to their own defences.

Breem’s battle scenes are brilliantly laid out and easy to follow but he never underestimates his reader. If anyone out there wants an example of tight, informative and entertaining historical fiction this is a good read to go for. There is another book by Breem set in the Roman world entitled The Legate’s Daughter but I have not managed to find a copy yet. If I read the latter I will let you know what I think but for now, Eagle in the Snow is time well-spent and will leave you just a bit haunted by ghosts of the Roman past.

Self-Publish or Perish?

Now, there’s a question. An intense conversation took place in my revived writers’ group last week – I say revived because we had not met since last fall with a hiatus for the busy period of holiday indulgence and then winter hibernation in which a great deal of actual writing took place.

Conversation seems so intense around this topic because there are still two strongly fortified camps when it comes to this. On the one hand we have the traditionalists that view self-publishing as something of a cop out, something not to be taken seriously because the author is doing it à la DIY. In this camp are those that believe the publishing houses and agents are totally the way to go, the only way to go as they are willing to spend the money, to take the chances, to put their names and reputations behind your work not to mention the time of all the behind-the-scenes staff in finance, marketing, production and design, etc. etc.

Admittedly, I am part of this traditionalist school of thought when it comes to books and publishing. Behind this thinking are a couple of points. Firstly, how could self-publishing possibly feel better than having someone commit to your work, back it up with cash and time. Secondly, if you go through an agent and on to a publishing house, they have all the expertise in place from contract negotiation to final product and promotion, AND a big name to go along with it. The writer can focus on the writing. I think a great many of us are thinking along these lines.

On the other side of the battlefield is the take-the-bull-by-the-horns, self-publishing camp. At first, this was a definite underdog area filled with less than mediocre fiction from vanity presses who totally took advantage of the hopefuls who went that path. People were getting screwed out of loads of cash and didn’t get anything near a dream-come-true scenario.

BUT – yes, there is a definite ‘but’ here. Times have changed. Technology and tactics have indeed changed, at an alarming rate. The economic recession that has been experienced by most of the western world has taken a bloody toll on the publishing industry and as a result, publishers and agents have had to cut their losses and shore up the defences. A few months ago a read an article about the demand by most publishers and agents for ‘marquee characters’ only because the view is that this guarantees sales and readership. This is something that we have heard quite a lot about and, as stated in the article, there is a danger in this reluctance to take on anything less than marquee names. The marketplace could become over saturated with books on a very few subjects. The result is the neglect of some potentially fantastic fiction about everyday characters that truly resonate with readers, no matter the historical setting. Smaller, Indy publishing houses tend to be gutsier with their lists and are well worth a look if your work is a good fit. However, most small presses publish very few titles every year.

So where does all this leave the writer, particularly the writer of historical fiction?

The more I read about the marketplace and the impact of the economy, the more it seems to me that writers are being left in the wings, waiting for times to change back again. They’re waiting for a throwback to the good old days of high advances and posh lunches with agents and editors whose budgets knew no bounds. However, the more I read about this, the more discussions I have with agents, writers and others, the more definite it seems that these times are not coming back. So what can we, as writers and creative types, do? Waiting around for things to happen doesn’t seem very proactive. In fact it seems to be positively fatal to one’s hopes and dreams.

Standing outside the walls of both camps now, hopefully not on the killing fields, I’m wondering if it might be a good idea to build a new camp, one that embraces the best of both worlds, one that has more of a chance of empowering authors. Don’t get me wrong, I’m still for the traditional route to publishing but I now also see the merit in the self-publishing, DIYmethod. The latter at least provides writers with another strategy to try out while the publishing world gets its guts back and becomes willing once more to take chances. Of course they have been scared; there have been countless casualties in their camp in the last decade, big and small.

Here is a good example of self-publishing success. A friend of mine sent me an article about a girl who had written a whack of YA novels in the fantasy genre. She was rejected by numerous agents and publishers. Finally, she decided to try out self-publishing through Create Space (https://www.createspace.com/Author.jsp), a company of Amazon.com. To make a long story short, she sold her books for .99 cents each and at the end of the day, she made close to $2 Million for her efforts. Yes, she had to do it all herself, creation, formatting and loads of promotion but using this alternative route and a whole lot of dedication, she was able to get her name out there, develop a following and a demand for her work and now has nailed a seven figure deal with a major publisher (on top of her self-publishing which she is going to continue doing). Readers were stepping up to pay their money for her work which is available in print and e-format. I’d say that that girl is a writer, sans cop outs! This is, of course, the Harry Potter example of self-publishing but it is very telling.

Something to think about, isn’t it? Both traditional and new publishing routes provide excellent opportunities so now the question for many traditionally-minded writers is whether the focus, the approach, has been far too narrow. Why was Alexander the Great such a brilliant and masterly general? It was because he had vision and an uncanny ability to assess a situation and make changes to adapt accordingly. So, perhaps the campaign to publication should be waged on several fronts – eventually, one will break through the barriers.

New times call for new and adaptive strategies. I know, I’ve bludgeoned the military metaphors to death here but hey, this is a blog about historical fiction and I like ancient warfare. Whatever the tactic we choose, it shouldn’t be forgotten that constant drilling leads to victory and so to all writers out there, WRITE, WRITE, WRITE!

Let me know your thoughts…

The Etruscans

6th Century B.C. Etruscan Tomb
Castellina in Chianti

If Indiana Jones were a hoarder, his office would probably look like mine. Actually, I don’t hoard things but my flat is not large and the historian in me has a great many books. I suffer from an ailment common to many historians and writers of historical fiction, something called "I might need it someday" syndrome, also known as "That might come in useful". This involves the need to keep close all the precious books one has accumulated over years of study, even if one never reads them all cover-to-cover.

I was undertaking my own little excavation the other day in my office when I unearthed some more photos from a vacation in Tuscany back in 2002. These photos were of an Etruscan tomb just outside Castellina in Chianti. The site was simple and unassuming but had a great impact on my imagination, so much so that I used it in some parts of Children of Apollo. On that trip, I started to learn more about the Etruscans who inhabited the Italian peninsula from roughly the Tiber to the Arno rivers and beyond to the Po valley and Bologna.

Not a great deal is known about the Etruscans and I am by no means an expert but from what I have seen and read, it is a very interesting topic. Anyone who has studied ancient Greece and Rome will have had some contact with the Etruscans; the Greeks traded with the Etruscans and were a great influence on Etruscan art and lifestyle and Rome itself was ruled by Etruscan kings who brought that little backwater village by the Tiber out of the mud with a dash of civilization. In Tuscany itself, there are many sites where one can find remains of Etruscan civilization, places such as Cerveteri, Veii, Tarquinia, Volsinii, Volterra, Vulci and Arezzo.




Etruscan Tomb Painting
Tarquinia

 Much of what is known about the Etruscans and their lifestyle comes from their tombs where elaborate paintings of banquets and sporting events such as the Olympics have been found. Many grave goods have been found in the tombs and there is an excellent collection of finds at the Archaeological Museum of Bologna (www.comune.bologna.it/bologna/Musei/Archeologico/). The Etruscans traded a great deal and so had much contact with the Greeks from other parts of Italy, Sicily and mainland Greece. The walls of the tombs depict chariot races and elaborate banqueting scenes with diners reclining on couches, drinking wine from kraters and being entertained by musicians. The scene is like many an ancient Greek depiction with one marked difference. In Etruscan art, women were shown dining right alongside the men, drinking wine and enjoying conversation. This would have been scandalous to an ancient Greek as women the other side of the Ionian sea were not permitted to be in attendance at banquets or symposia.

Chimera of Arezzo
Florence Archaeological Museum

The Etruscans had their own rich culture and this is reflected in much of their bronze artwork and pottery. While some of it resembled ancient Greek art, or indeed was Greek art acquired through trade, much of it is quite unique and an excellent example of this is the famous Chimera bronze on display at the Florence Archaeological Museum (http://www.firenzemusei.it/00_english/index.html).

There is much debate about the origin of the Etruscans in Italy with no consensus yet in sight. Some believe the Etruscans were an indigenous people, others that they came from Lydia in Asia Minor. As far as the Roman scene was concerned, the line of Etruscan kings began circa 616 B.C. with the reign of Tarquin the Elder who was a Corinthian Greek named Lucumo who lived in Tarquinia and married an Etruscan woman named Tanaquil. The two were shunned for a mixed marriage and so moved to the growing centre of Rome where Tarquin became the fifth king of Rome. The Etruscans were famous for their understanding of augury and prophecy, religious practices which would be widely used in Roman life for hundreds of years. Etruscan augurs would read portents and the will of the gods in animal entrails and organs and this skill impressed the Romans. The Etruscans not only complemented Roman religious practices but also helped to improve Roman building practices and it is to them that the Romans owe their talent for building aqueducts and sewers.

At the peak of their power and influence, the Etruscans were the dominant people of central Italy. They were however, never a truly unified nation and like the Greeks who had influenced them and traded with them, their city-states never stopped fighting amongst themselves. With the Romans growing in strength and skill to the south and the Celts expanding in the north, the Etruscans were in a superbly unenviable position and could not hold sway for long. The last Etruscan king of Rome, Tarquin the Proud, who according to Livy took the throne by force and ruled through fear, was narrowly defeated in a series of battles between Etruscan allies and the Romans, led by Lucius Iunius Brutus. Many died on both sides but Tarquin lived through the day and, though no longer King of Rome, lived out his days in exile in Tusculum. The wheels had been set in motion and Rome had become a Republic.

Of course, when I walked into the cypress-crowned tomb outside Castellina in Chianti nine years ago, I knew nothing of Etruscan history, nor how fascinating it really is. This short blurb is such a tiny scratch on the surface, a mere taste, there is so much more to learn. There are not a great many books (fiction or non-fiction) on the subject, at least not in English. As far as historical fiction/fantasy, two great reads are Steven Saylor's Roma, part of which takes place during Rome's infancy, and the other book is Ursula K. Le Guin's wonderfully woven tale, Lavinia, which looks at the early mythic establishment of Rome and the arrival of Aeneas after the Trojan War. I highly recommend the archaeological museums of Florence and Bologna where you can see Etruscan artefacts for yourselves and it goes without saying that visits to the archaeological sites mentioned are well worth the adventure. Just remember that snakes, as well as tourists, like nothing more than a dark, damp tomb in summer time.



Interior of Etruscan Tomb
Castellina in Chianti



Oh, Picts!



One of the Aberlemno Stones showing
Christian and Pagan Symbols

 Here we are for the first posting of 2011. I hope everyone had a truly festive Yuletide and a Happy New Year. May Fortuna smile upon us all this upcoming year.

Today, I wanted to discuss a topic that is often neglected although it is very interesting: the Picts and pictish art. When going through more of my old photos from my days in St. Andrews, I came across a packet of prints from an outing with some of my MLitt colleagues to visit pictish sites in Angus, Scotland. The main attraction for us was the wide array of ornate carvings on several pictish gravestones, most of which are maintained by Historic Scotland at the Meigle Museum which is itself an old school house on the A94 Coupar Angus to Forfar road (for those of you who are interested in visiting). This little museum is a true gem and well worth a visit.

Before looking at the carvings however, I suppose I should answer one simple question. Who were the Picts? We hear about them all the time, especially in relation to the Roman invasion of what is now Scotland by Agricola in AD 79. The action-packed movie CENTURION, which came out in 2010, deals with Agricola's operations north of the Firth of Forth and the presumed disappearance of the Ninth Legion. In the film, the Picts are portrayed as society run by a warrior elite, the members of which paint themselves with woad. The film is very entertaining, if not violent, but the best thing is that it was filmed where much of the history presumably took place. It is worth a gander for that, if anything. But were the Picts simply a mass of blue barbarians as they are so often portrayed? Likely not.



Typical pictish symbols

 Contrary to the usual portrayal, the Picts were not simply one enormous group living and fighting north of the Antonine Wall. They were indigenous Celts and the term "Picts" is more of a blanket term that included approximately twelve Celtic tribes north of the Forth and Clyde rivers. These were recorded by the  Roman geographer Ptolemy in the 2nd century AD. Because of the military threat posed by Imperial Rome, the Celts in the area amalgamated into two larger groups, The Caledonii and the Maeatae. The Romans came to refer to them all as Picti.

The Pictish federation survived the various Roman incursions (the last one being the Severan invasion of Scotland in the early 3rd century). As a result the Picts were able to develop mechanisms of kingship and by the 6th century there was a Pictish kingdom.

In Pictish art, there are certain recurrant symbols such as those found on the Aberlemno stone including the 'serpent', the 'double-disc' and the 'Z-rod'. When I visited the Meigle museum I was struck immediately by the amount of Christian imagery, having had in my mind typical images of paganism when it came to the Picts. The presence of crosses and other Christian images is due to the conversion of the Picts to Christianity after the Irish abbot of Iona, St. Columba, ventured into Pictland in AD 565. Columba met the Pictish king, Bridei son of Maelchon in a fortress near the River Ness and thus began the conversion of the Picts, a process that was complete by about AD 700.



Interior of Meigle Museum

 The pictish symbol stones are one of the most important sources for information about the Picts and the symbols, common from one end of Scotland to the other, were widely understood by all the tribes. Now however, we know very little of their actual meaning except that they functioned as memorial stones or territorial boundary markers.

The church yard at Meigle contained a large number of pictish stones, implying that Meigle was itself a very important centre of burial for the pictish church and under the patronage of the kings of the Picts. Eventually however, pictish rule, which had survived the onslaught of Rome, was taken over by the Gaelic-speaking settlers of Dalriadia (modern Argyll) which led to the reign of the Scots King, Kenneth mac Alpin and his subsequent dynasty.



Cross-slab no.1
The Death of Queen Vanora

 Before we bid farewell to the Picts however, there is an interesting Arthurian connection with Meigle and one of the pictish stones (cross-slab no.1). On entering the graveyard at Meigle, there is a grassy mound known as Vanora's Grave. Local tradition has it that Vanora was actually Queen Guinevere, the wife of Arthur. Vanora was abducted by the pictish king, Mordred, and held captive near Meigle. When she was returned to her husband after this enforced infidelity she was sentenced to death by being torn apart by wild beasts, hence the scene of Vanora's death on the back of cross-slab no.1. Here remains were buried at Meigle. Tradition also says that Vanora (and Guinevere for that matter) was barren and it is said that any young woman who walks over her grave is said to risk becoming barren herself. True or not, this is yet another interesting anecdote of history and legend.


Hope you've enjoyed this. Once more, if you ever get the chance to visit Meigle's museum and some of the stones in the surrounding area, it is well worth it. If Picts are your thing, then you may also wish to visit Pictavia (http://www.pictavia.org.uk/), a new visitor centre and living history museum for pictish history in Angus, Scotland. If you visit Pictavia at the right time of year, you just may see the Picts and Rome's Legions do battle one last time!