Midnight Mask

I’m not a fan of horror films. Many are simply exploitative, and the genre in general has normalised extreme violence.

But once in a while I come across something that, to me, is exceptional, and only in the genre of ‘horror’ out of misunderstanding; or even better, because the ‘film’ has two layers of meaning… and if you stick with it, you get to the second, deeper one.

Stanley Kubrick’s masterpiece ‘2001: A Space Odyssey’, although sci-fi and not horror, was a case in point. It was really about the ultimate evolution of the human race – in the face of its imminent extinction, though that was much easier to ‘get’ if you’d read Arthur C. Clarke’s book – which came after the film, which was jointly produced by Kubrick and Clark. Many people who watched the film had no idea what was really going on…

We’ve recently finished watching the Netflix series of ‘Midnight Mass’, and, though this is classified as a horror/mystery film, it’s really something a lot deeper.

A charismatic young priest arrives on an island some miles off the coast of Maine on the eastern seaboard of the USA. The small Crockett Island is much diminished from its former days of being a fishing haven. Spillage from an oil tanker several years prior has reduced the standard of life to general poverty.

The Catholic Church on the island used to be the centre of its life, but is now sparsely populated. Drugs have found their way into the lives of the younger people; ‘pushed’ into their meagre existence by a couple of low-life types who masquerade as fishing boat mechanics.

As if that wasn’t enough, all the cats on the island are disappearing.

The film’s opening takes place in a quite different location: New York. We later find that the man siting in handcuffs on the pavement between his wrecked sports car and the police vehicle is the emigrated son of one of the fishermen on Crockett Island. Across the glass and metal strewn street, we see the dead body of the girl he’s just killed in the crash – caused by his being drunk. The image of the newly-dead girl, her face encrusted with fragments of shimmering glass, reflecting like jewels, is to haunt him for the rest of the film.

Later, we discover that he’s a successful investment banker on Wall Street… was a successful banker, because he’s sent to jail for several years for causing the death of the girl whose image now follows him.

We fast-forward to the day of his release from prison, when he arrives on Crockett Island on the mainland ferry, to return to life with his ‘only friends’ – his parents. His arrival coincides with that of the sudden appearance of a charismatic young priest, whose mission is to revitalise Crockett Island’s small church, and restore the once-vibrant spiritual life of the remote community.

The banker is now reduced to living with his family and being a poor fisherman, again. While the priest enjoys enjoys a rise to local fame – and a full church – with the aid of a series of miracles, although his health seems strangely suspect. As the congregation grows, we see the rise of the usual suspects – the zealot (a woman Deacon) who considers the rest are not holy enough; the town mayor, getting in on the act and asserting his temporal importance; the local violent drunk, whose only soft spot is for his beloved dog.

But the priest keeps ahead of this, and, each week, challenges the congregation to increase their efforts to ‘imitate Christ’. Soon, the church is full. Even the disgraced banker attends; at the behest of his father, though he will not take the communion wine.

Gradually, the entire life of the island gets drawn into this new pattern of life and worship; until, one morning after a storm, the beach is found to contain a long line of all the dead cats that had gone missing…

I’ll not spoil the story, whose plot is clever and surprising. But, throughout the film (series) you can feel what’s happening, even if you don’t understand it. The direction is subtle and sinister – while remaining deeply understated.

Sufficient to say its conclusion is shocking in the extreme, but not for the sake of it. It becomes the meeting and clash of two worlds: the vision of the priest for his flock versus the reality of what’s happening behind the scenes.

The dreadful confrontation between what’s been killing the cats and the full congregation is difficult to watch, but has a purpose way beyond violence. In that conflagration is shown all the best and worst of human nature and the crisis results in a condition where most of the island’s people are faced with possible death.

At the centre of this is the relationship between the disgraced banker and his former girlfriend, from when he lived on Crockett Island, There is a beautiful late-night scene where the two of them talk about their respective views on death and the afterlife – a motif repeated at the very end of the film, as the sun rises on the beach, where the remaining islanders are lined up to greet it…

The purpose of this blog is not, generally, to promote films, but the underlying wisdom of ‘Midnight Mass’ is beautifully and bravely crafted, and results in an ending filled with hope and wisdom, rather than the usual ‘vengeance’ aftermath of such scripts.

The film is also about ignorance, and those who follow what they want to hear, rather than seeking the reality – the truth.

You can’t describe it as a ‘feel good’ film, because it’s too shocking. But you can describe it as a brilliantly crafted story – filled with redemption, in the deepest sense.

©Stephen Tanham 2021

Stephen Tanham is a Director of the Silent Eye, a journey through the forest of personality to the dawn of Being.

http://www.thesilenteye.co.uk and http://www.suningemini.blog

The City and the Stars – revisited – Britain’s oldest stone circle…

New evidence from the past two years’ work on Orkney has revealed breathtaking perspectives on the nature and importance of the finds at the Ness of Brodgar…

(1000 words, a ten-minute read)

(Above: technical reconstruction of Structure 10 and its dramatic ‘pyramid’ roof on the Ness of Brodgar by Kenny Arne Lang Antonsen and Jimmy John Antonsen)

Staring, breathless, at the TV, desperately trying to keep notes, I was clutching my pencil so hard, it began to splinter…

There was a silence among the archaeologists and assorted technical specialists grouped near Structure 10 on the Ness of Brodgar World Heritage Site; the kind of silence that follows feverish activity and intense speculation – most of it expectantly negative…

We are a cautious species. If we long for something that might change the world, and hope it might happen, we prepare ourselves to be wrong.

The group of intense people were waiting for a phone call regarding a date. A diving team had drilled a ‘time-core’ into the base of the shallow sea that is Loch Stenness, north of the tiny strip of land that houses the Ness of Brodgar site. Extensive ‘geophys(basically radar for archeological work) had revealed a sunken island in the middle of the loch’s basin, and the surface had revealed the shape of a natural stone circle.

(Above: two arial images of the Ness of Brodgar extracted from the freely-available PDF files at the Ness of Brodgar Archeology site)

In revelation after revelation, the story of what was likely the world’s first ‘common culture’ had come together, centred on the Ness of Brodgar, an impossibly narrow strip of land north of Stromness, on Orkney, seven miles north of the tip of Scotland.

(Above: Structure 10 from above – taken from the Ness of Brodgar information panels )
(Above: the Ring of Brodgar; older than the Great Pyramid of Egypt. Picture by author)

Older than the Great Pyramid, the nearby Ring of Brodgar had been dated to a time in the Neolithic period when the tribes of hunter-gatherers had settled in fertile lands, creating the first permanent settlements and beginning what we today call a common culture.

(Above: the BBC series Britains Ancient Capital: Secrets of Orkney is available on the BBC’s iPlayer service)

I was watching the BBC’s ‘Britain’s Ancient Capital: Secrets of Orkney’. If you follow my blogs, here and on Sun in Gemini, you’ll know that Orkney and its ancient history are a favourite topic. Other relevant posts from the Silent Eye’s 2019 workshop on Orkney are listed at the end of of this piece. The BBC programme features, amongst others, Neil Oliver and Chris Packham, two well-know authorities in their own fields; together with the dedicated team excavating the Ness of Brodgar each summer.

Chris Packham had just shown how the presence of the Orkney Vole was really an interview with a time-traveller. He revealed that, thousands of years ago, the non-native vole species had arrived from Belgium, not by itself, but carried and bred as an eaten delicacy by the farmers who originally populated Orkney, five thousand years ago… Meat-eater or not, you’ve got to admire the science…

Back to the waiting crowd at the Ness of Brodgar. Neil Oliver read out the results of the core’s dating. The researchers had dared to consider that the presence of the natural stone ring had been the ‘first stone circle in Britain’… and therefore something that inspired all the rest. Archaeologists have long puzzled how such structures sprang into existence ‘fully formed’. Finding the first would have been a seminal moment.

The documentary had already shown that Orkney was the place from which all other stone circles in Britain had originated; following a development that would move south through Scotland and the rest of Britain, and culminate with Stonehenge, in Wiltshire – considered to be a masterpiece of the art, but now dated at least three hundred years after the Ring of Brodgar.

Neil Oliver looked realistic but sad as he reported the data had shown the sunken ring feature was thousand of years older than needed to fit the possibility; millennia before the ‘spiritual farmers’ who came to settle and create this outstanding culture of the Stone Age – with villages such as Skara Brae amazingly intact, including the interior of their houses.

(Above: Five-thousand year old history fully intact… Skara Brae)

You could feel the disappointment in the team. But so much had already been uncovered and proved – including a reconstruction of how the Orkney people, finally leaving their beloved archipelago, crossed the deadly Pentland Firth to reach the mainland near present day Thurso. And all this in boats made from tree branches and waterproofed hides.

The series reached its final few moments with Neil Oliver and Chris Packham visiting a now-deserted island, off Hoy, to ‘feel’ what an abandoned land was like – They found that the cattle left behind, thirty years prior, had not only survived, but, in seven generations, had reverted back to their genetic forbears in order to reorganise and survive, alone.

But then it was back to the Ness of Brodgar for the final sentiments. So much has been achieved; so much revolutionary ancient history uncovered. Orkney had been placed as the ancient capital of Britain. Who would have thought a place so far north could have been such a cradle of civilisation!

And then…

And then, as the archeological team were pulling over the vast tarpaulins that would protect the site through the coming winter, they stopped to show the latest and strangest find. Located in the deep earth below Structure 10 (the pyramid-roofed ritual centre of the complex) was a long, thick slab of stone on its side. Further examples of this strangely aligned stone revealed a random layout, clearly not a part of what had been constructed above it.

The camera pulled back to show the face of the Site Director, Nick Card, calm and unruffled, as he had been through the three programmes. “We think they’re full standing stones that have been laid on their edges,” he said. “As though the whole of this Ness of Brodgar complex had been built above the first stone circle… which, of its type, it might well be.”

The dig had run out of time and weather. It will take another season of careful excavation to confirm that possibility. But, bearing in mind that the Ness of Brodgar has been re-dated back to at least 3,500 years BCE, They may already have found the indisputable heart of the relationship between the stonemasters of ancient Orkney and their beloved sky…

(Above: the bright night sky, seen and mapped by the ancients as the ‘bigger picture’ of everything happening here. We will never know their beliefs, but thanks to Orkney, we can feel the importance of their relationship with the sky. Picture by author)
(Above: the Ness of Brodgar’s timeline)

To be continued.

Other parts in this series:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine – end,

The preceding Pictish Trail weekend blog posts:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

©Stephen Tanham, 2021.

Stephen Tanham is a Director of the Silent Eye – a journey through the forest of personality to the sunrise of Being.

The City and the Stars (6) : the twice-chosen

To build something so sophisticated, so designed, as the Maeshowe Chambered ‘tomb’, would have required enormous dedication from the people of Orkney. Seen alongside the emerging splendour of the Ness of Brodgar ‘spiritual city’, you get a flavour of the total commitment of these ancient people to their task…

(1500 words, a ten-minute read)

(Above: The long passageway that leads into and out of the Maeshowe structure

The dark-haired one shivered in the gloom, pulling his heavy furs around him, licking the sweet drink from his lips – as much in nervousness as thirst. He had not expected the call; had not thought, those months ago, that he would be crouched here, waiting for something unknown, in the late afternoon of a freezing winter day…

Ahead, one of the three who had guarded him began to crawl along the passageway, leaving two; each with a firm hand on one of his shoulders. At the far end of the stone tunnel, the now-distant figure knocked on the large guardstone with a rock. For a long few seconds nothing happened, then there came the sound of the heavy stone being dragged to one side.

The darkness revealed in that distant and narrow aperture seemed to swirl the more he looked at it. His eyes adjusted to its near-black quality, thick with hidden purpose. He gazed as he had been instructed, looking for something unknown, his eyes becoming more acute with each passing heartbeat. The momentary flicker of gold shocked him with its intensity. He blinked, in case it had been a trick of being so long in the darkness. When his eyes returned to their focus, it was stronger – an arc of gold and red at the left edge of the far hole into the world and moving visibly, as he watched, to fill the small, black space.

The beauty was so intense, he could hardly bear it, and tears streamed down his cheeks, vapour rose off his face in swirling clouds that mixed with the rays of light coming from the world, splitting the incoming beams into jewels. The guards relaxed their grip and bent to whisper things in his ears: some clear, some at the edge of meaning and seemingly garbled. When they had finished, his whole being felt turned inside out and he only wanted one thing – to be released to crawl towards that place of the most beautiful light he had ever seen.

“Go!” The command came in unison from both. “Now, while the hole in the world is made bright, for you have become twice chosen.” Strong hands propelled his stiff limbs and he stumbled, half running, half crawling, along the stone passage towards the gold and red that was filling it.

The great arms that pulled him from the neck of that passageway drew him nearly into the air before pinning him back agains the cold stone; but he never took his eyes from the intensity of the bright sun blazing dead ahead in the black sky. In language he did not know, but would come to, it was bringing him to life, filling his depths with a calmness, purpose and belonging that he had never dreamed possible.

The twin grips on his flesh had changed. With the force there was now reverence. The four arms were changed to two, one over his forehead, one over his heart.

“I name you Priest, once chosen by the tribe,” sang the man on his left.

“I name you Priest, twice chosen. By the tribe and by the Sun, symbol of all life,” sang the other, the man whose hand was over his heart.

Ixra, twice chosen and anointed priest, holder of the heart of his people, felt their hands leave his flesh. Still staring at the red and gold orb, whose brilliance had begun to fade, he stretched out his hands to take theirs, that they could share in the fire now streaming from him.


I didn’t really understand the Maeshowe ‘Chambered Tomb’ the first time I saw it. You can’t walk to it from the visitor centre, you have to be taken by bus to a vehicle park parallel with it. The main road between Stromness and Kirkwall, the capital of Orkney, runs right past the Maeshowe site, so a guide walks you across from the bus park an onto the long walkway to the distant mound.

(Above: Jim, our driver, was happy for me to take his photo. He told me he, like many on Orkney, had moved there to find a simpler life. “I love looking at people’s faces when they come back to the bus,” he said. “They’re different…”)

Initially, there’s not a lot to see. As you enter the walkway, the mound of Maeshowe looks a long way off.

(Above: the distant Maeshowe structure from the bus park)

The walkway passes through the large henge that surrounds Maeshowe. The interior may have been filled with water in the time of its active use, adding to the ‘birth symbolism’.

(Above: the large henge that surrounds Maeshowe)

Maeshowe seems to have been built for one purpose: to honour and use the ritual power of the setting sun at midwinter – the solstice, the time of the shortest day and longest night. This point in the year is honoured in many temple structures in Scotland, including the remarkable ‘recumbent’ stone circle at East Aquhorthies, near Inverurie, a type only found in north-east Scotland. Allan Pringle and his wife, Ann, had conducted us on an excellent tour of the region three years prior.

(Above: waiting for the guide. Even close-up, it’s not particularly impressive… until you get inside)

You enter the interior the Maeshowe chamber by a long and low entrance passage on the south-western side of the mound. You have to crouch, uncomfortably, in the 28 inch vertical space, and the passageway is a long one – 36 feet.

(Above: the ‘solid’ entranceway gives some idea of what follows)

The entrance passage was constructed using clay and and large native Orkney stones, each weighing as much as 30 tons. The entrance passage is made up of two sections. The outer passageway has been reconstructed due to damage prior to its excavation, but the the inner section is original.

(Above: the guide begins his tour of Maeshowe. Sadly, photography was not permitted inside the structure. The images of the interior were taken from those on the information boards at the visitor centre).

At the point where the outer passage meets the inner, there is a recess containing a large stone that was used as a ‘blocking stone’, capable of being rolled back into the space to close the passageway.

The blocking stone doesn’t completely fill the aperture and this has led to speculation that this may be have been part of the design of the ‘light-entrance’ of the mound. Research has shown that it would have been easier to seal the mound from the inside. This underlines the widely held view that the chamber was used for rituals – and by a few people, only – a dedicated priesthood.

(Above: four section drawings of the interior of the Maeshowe chamber and the three side-chambers. From Wikipedia

The entrance leads into the large central chamber, from which three smaller side-cells branch off. The image below, taken from the information boards, shows what must be a rare occurrence – given the time of year – of a bright far wall at the Winter solstice.

(Above: The inner chamber. The entire purpose of the Maeshowe chamber was to focus the consciousness on the setting midwinter sun – the Solstice. The appearance of any light at all in December would have been a chancy thing…)

The skill of the Neolithic builders is evident once you are inside the main chamber. The drystone stonework is exact and of very high quality. The structure’s lower walls rise to a height of nearly five feet before they begin to slope inwards to finish in what would have once been a corbelled roof. Built into each of the three walls facing the entrance is a side chamber. It is thought these may have been used as depositories for the bodies of important ancestors… But no human remains were ever found here.

(Above: James Farrer’s sketch of the Maeshowe Chamber when it was first uncovered in 1861. Only the roof had collapsed. It was, after all, nearly 5,000 years old! Image Wikipedia

Maeshowe’s present roof is a modern one, installed in 1910, when the monument was taken into state care. Prior to this, and as confirmed by the above 1861 sketch of James Farrer, the chamber’s roof had not survived. The top of the structure was found to be already damaged during the excavation that year.

The excavators were only the latest in a series of visitors who had entered the structure by breaking through the roof! The most famous of these were a party of unknown but artistic Vikings who sought shelter here and left some spectacular graffiti on the sandstone walls.

(Above: Viking graffiti inside Maeshowe, including the famous ‘dragon’ reproduced as jewellery in the local shops)

Among this was a now-famous ‘dragon’, more likely to have been a wolf or lion, which has since become the basis of much Orkney jewellery…

(Above: the jewellery in the visitor centre shop helps visualise the Maeshowe ‘dragon’ – more likely a wolf or a lion)

I left Maeshowe feeling somewhat frustrated. A large group of us were packed into its compact space (remember this was 2018), but, more crucially for me, I was unable to take photographs, upon which I rely in my subsequent blog posts. Only later, when I reviewed my memories of how it felt, was I able to compose the thoughts of initiation that became the short imaginary piece that introduced this post. Maeshowe is one of the places where that was undeniably its purpose.

It’s certainly true to say that a normal tour of Maeshowe does not do justice to the obvious spiritual nature of the structure. That would be difficult for Historic Scotland to achieve. But if they’d like a volunteer as to how this could be done…

(Above: the gentle Orkney light setting on Maeshowe returns some of its ancient mystery)

There was one more face to the area around the Ness of Brodgar: the Standing Stones of Stenness. We will visit them for our final post from the Neolithic part of Orkney, on Thursday.

Resources:

Wikipedia on Maeshowe

The excellent Orkneyjar website is a mine of information on Neolithic Orkney.

To be continued.

Other parts in this series:

Part One, Part Two, Part Three, Part Four, Part Five. This is Part Six.

The preceding Pictish Trail weekend blog posts:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

©Stephen Tanham, 2020.

Stephen Tanham is a Director of the Silent Eye – a journey through the forest of personality to the sunrise of Being.

The City and the Stars (5) – Structure 10: pyramid

The more the Orkney archeologists uncover, the more it is certain that the settlement on the Ness of Brodgar was the hub of a dynamically influential and spiritual society, 5000 years ago… For example, what’s this pyramid…. yes, that’s right, pyramid?

(1700 words, a fifteen-minute read)

(Above: Illustration of Structure 10 by Kenny Arne Lang Antonsen and Jimmy John Antonsen)

That can’t be right, I thought, looking at the image, again…

Three thousand years BC… Five thousand years ago. That’s a long time, I mused. But I knew that Orkney was ancient, and that the importance of its early civilisation was only just coming to light…

What were the Egyptians doing in 3000 BC?, I wondered, reaching for the Google button.

‘Archaeologists believe Egypt’s large pyramids are the work of the Old Kingdom society that rose to prominence in the Nile Valley after 3000 B.C. Historical analysis tells us that the Egyptians built the Giza Pyramids in a span of 85 years between 2589 and 2504 BC.’

To set this Orkney time-frame into context, let’s imagine we go back to the Vikings – say 900AD, then back further to the time of Christ – year zero, then add on another move backwards as far as we are forward, now… then back another interval, equal to the time from Queen Elizabeth Tudor to today.

We’d still need to go back another five hundred years to match the age of this advanced Orkney civilisation… a staggering thought.

But looking at it with familiar ‘units’ like that helps to set the context and share the wonder of how and why I’m staring at a non-Egyptian pyramid with such interest. To be fair, Structure 10 (image above) is not a pyramid, it’s just shaped like one, with a steep roof. It’s really a ritualistic gathering place, with what appears to be a convention-shattering tiled stone roof – the oldest such structure in the world.

In 2008, the excavators uncovered the largest stone-built Neolithic structure in Britain. It was not a tomb… It was created around 2900BC and Structure 10 was the last major construction on the Ness of Brodgar site, which is why I’ve chosen to focus on it in this post.

The scale of the building was astonishing. Measuring 25 metres (82 feet) long by 19 metres (65 feet) wide, the four-metre-thick outer walls are still standing, though now only to a height of one metre.

Structure 10 had a single entrance. This was not a social building – it had a very specific purpose…

(Above: Structure 10 from above – taken from the Ness of Brodgar information panels )

A pair of standing stones flanked the entrance, which led to to a cross-shaped central chamber. The style of this combined different elements of both Neolithic chambered tombs (like Maeshowe) and houses, such as those at Barnhouse and Skara Brae which we had visited earlier in the Silent Eye workshop.

The central space – the focus of the whole edifice – was comparatively small and not designed to hold many people at a time. I couldn’t help comparing this aspect to the (later) King’s Chamber in the Great Pyramid and the temples of Karnak, both of which I’ve stood in and ‘sensed’ the space.

Were these places of spiritual initiation – awakening?

One of the ‘stone dressers’ – identical to those we had seen at Scara Brae, was found in the centre – but not placed against a wall. This ‘dresser’ was free-standing and incorporated slabs of striking red and yellow sandstone.

(Above: the ‘dresser’ from Skara Brae’s visitor centre)

The Ness of Brodgar site is uncovering a Neolithic complex like no other in the British Isles. All this on a long and thin strip of land between two of Orkneys’s lochs (Harray and Stenness) that is only the size of five football pitches.

The site has changed history’s views of the culture and beliefs of Neolithic Orkney… and just as importantly, beyond… The learned and skilled people who were here mysteriously disappeared during the second millennium BC. Where did they go? The Picts did not emerge until the second century AD, so are unlikely to be direct descendants…

Without parallel in Atlantic Europe, the Ness of Brodgar’s mere three hectares are literally chock-full with massive stone structures containing unique and spectacular finds.’

(Above: two arial images of the Ness of Brodgar extracted from the freely-available PDF files at the Ness of Brodgar Archeology site)

Despite my two trips, I’ve never been able to get inside the Ness of  Brodgar excavation site, other than staring at its tarpaulin covers over the archeological fence. It’s frustrating because I’ve spent hours wandering around the Ring of Brodgar, the nearby Standing Stones of Stenness and even had a tightly chaperoned crawl through a long and low entrance shaft into the chambered tomb of Maeshowe… 

During the Silent Eye’s extended weekend, we had just completed what was our second trip to Skara Brae; but the Ness of Brodgar, the place that now seems to have been the creative and administrative centre of the entire ritual landscape of Neolithic Orkney, had eluded me. The dig and the corresponding visitor ‘walk’ are only open in the summer months, and then, for obvious reasons, not in the time of Covid-19.

(Above: the complete timeline of the site… so far. Image from the online information boards referenced previously)

The story of the Ness of Brodgar began in 2003 on a field at Brodgar belonging to farmers Ola and Arnie Tait. Their plough caught on something hard and large. They sought help and a huge stone was revealed. Local archeologists were called in and an initial trench was dug, which revealed the corner of a building. This bore a resemblance to ancient houses at the nearby Neolithic village of Barnhouse. The team dug another eight test trenches, and seven of them discovered more stonework. Things were getting intense…

Using all the available information, the team created a plan for two large trenches to cut through different parts of the site – Trenches P and T. The information board describes the results:

Opened in 2008, Trench P is one of the two original trenches on site and home to the series of monumental buildings that are now known worldwide. 

The buildings you can see in the trench today are from the last major phases of the site, with construction started on the tiered Structures One, Eight, Twelve, Fourteen and Twenty-one around 3200BC and initially abandoned around 2900BC.

(Above: the story of Trench P – another extract from the Ness of Brodgar’s Archeological website downloadable PDFs, showing the main dig and the home of the massive ‘pyramidal’ Structure 10)

The Ness of Brodgar site is now world-famous, and dramatically larger and more significant than anyone could have imagined. Thirty-six ‘structures’ have been excavated so far. There are many more waiting to be started. Further experts were co-opted and a picture of the sophistication of construction began to emerge, with the use of stone piers and corner buttresses.

Some of the early work revealed structures with tall support stones, named orthostats, which were comparable in size to those at nearby Meashowe (see next post). The accuracy of construction was far ahead of what had been expected; for example, the tops of the orthostats were all within 20 mm of each other – all this with stone tools…

Together with the rich, large assemblage of prestige items (such as mace heads and polished stone axes) this suggests it was more than a domestic settlement.

Structures 8 and 10 were constructed with steeply sloping flagstone roofs – the earliest instance in the archeological world. Structure 10, with its pyramidal roof, is the longest lasting, and survived through to the end of the site’s use. It seems to have been a temple; the very heart of the Orkney civilisation for thousands of years. A large collection of animal bones indicate that its use was terminated, ritually, with a feast, and then the site – like Skara Brae – was ceremonially closed down and demolished.

These people wanted to leave nothing of their spiritual selves behind…

The inference is that the people moved on, migrated south. But no-one knows where…

Detailed work on the site continues, and only a fraction of the total buildings have been excavated. Nearly a thousand stones have been discovered that show markings of various kinds; cut, carved, picked or ‘pecked’. This is one of the largest such groups found in Europe. About a third of them had been ‘pick-dressed’, their surfaces worked with a sharp point and repeatedly tapped. This process has only ever been found in a few other places in the British Isles, including nearby Maeshowe, Anglesey and the great Irish tombs on the river Boyne.

Although the Ness buildings are architecturally similar to houses at known Neolithic settlements in Orkney – such as Skara Brae and Barnhouse – they are much larger and more elaborate.

One of the key analyses carried out revealed the use of peat for fuel, and sophisticated pottery-making styles using high temperatures. Organic micro-material from floors and hearths reveals barley, wheat, wild plants like crowberry and chickweed, and also charred crab apple pips.

Analysis of traces of animal fats shows that some pots may have been used for cooking beef, and others for storing or serving milk. Analysis of the many animal bones shows prime beef cattle, and also red deer, and strangely, a white-tailed sea eagle.

Surprisingly, perhaps, fish bones in contrast are fewer, with the eel, salmon and trout common, but also the consumption of cod, halibut, saithe and turbot. It seems that, despite being surrounded by the sea, meat was the preferred option.

Our investigations have expanded greatly since their modest start over a decade ago., but the excavations still only cover less than ten percent of the complete complex of buildings

We have pieced together a site biography that spans millennia, from traces of Mesolithic activity to the site’s Neolithic heyday, through to the early Bronze Age, with a later episode of use in the Iron Age.

(Above: the Ring of Brodgar site offers a free set of PDFs directly downloadable from the site)

Professor Mike Parker-Pearson of University College London, who is an expert on Stonehenge said: “We’re looking at a fairly major transition across Britain, the impact of a whole way of life, spiritual and social, which comes out of Orkney … Orkney was a place of synthesis, where whole Neolithic worlds came together.”

In the next post, we will examine the Standing Stones of Stenness and the Chambered Tomb of Maeshowe before leaving the Ness of Brodgar to visit other areas on Orkney.

To be continued.

Other parts in this series:

Part One, Part Two, Part Three, Part Four, This is Part Five

The preceding Pictish Trail weekend blog posts:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

©Stephen Tanham, 2020.

Stephen Tanham is a Director of the Silent Eye – a journey through the forest of personality to the sunrise of Being.

The City and the Stars (4) – The Ring of Brodgar

You turn to take in the landscape… This magnificent place, where the natural features are as spectacular as the Neolithic discoveries, lies between two lochs surrounded by a natural amphitheatre. You are encircled by the hills and the monuments that make up the heart of Orkney’s Neolithic World Heritage Site. Welcome to the Ring of Brodgar, in the valley of the stars…

(1500 words, a twelve-minute read)

The Ring of Brodgar lies on the isthmus between the Lochs of Harray and Stenness. It is one of the best stone circles in the world and originally comprised 60 megaliths, of which 27 remain upright. It is a perfect circle, 104 metres in diameter.

It is breathtaking, and unlike many ancient circles, if you go at the right time, you can have it all to yourself… When we visited, in September 2020, there were less than twenty people there.

It used to be that theories of Neolithic Orkney were based around the Brodgar stone circle, but now, an entire complex of temples and dwellings, located just a few hundred metres away, have been added to the list of treasures to be found here. The Ring of Brodgar is likely to remain the central attraction, but with Skara Brae within a day’s return walking distance and the new discoveries matching the latter in style, the entire Ness of Brodgar is now being seen as a ‘spiritual city’, rather than just the place of the stone circle.

I’m fortunate in that I’ve been here twice. I’ve documented many of our explorations of Scottish islands in these pages.

In May 2018, we fulfilled a life-ambition and, came to Orkney for a five-night spring break, travelling with some friends by train to Thurso, then by ferry across to Orkney – as with this present Silent Eye trip. Bernie had spotted, online, that there was a local pagan group who would be celebrating the Beltane festival at the stones. They had invited anyone interested to join them, asking for a few details prior to our arrival.

I count myself more a mystic than anything else, and wrote to tell them that, but they were pleased to have us present, and, in view of my personal history, offered me a small part in the ceremonial proceedings. It was a great honour.

(Above: from May 2018 – the Beltane ceremony)

This was on our second evening, and we hadn’t yet collected our rental car, so we took a taxi from Stromness to the Comet Stone, which marks the beginning of the Brodgar site. From there, we were inducted into the ceremonial process. It was a lovely event, with an open spirit and a celebration of the magnificence of the location and its importance to Orkney – past and present.

I will remember it most for the sunset. It was early May and we had expected little in the way of decent weather. But Orkney surprised us with the most golden sunset I have ever seen. Even after leaving the site, standing at the bus stop a mile away, we were still gazing mutely at the sky, enraptured that this could have happened.

The Orkney weather on the 2020 trip was overcast, so I have included shots from both visits to give the reader a flavour of that splendour in this most powerful of locations.

The Ring of Brodgar is a Neolithic henge and stone circle. It is rare to find both in the same site. It is the only stone circle in Britain which is a perfect circle. Brodgar ranks with Avebury and Stonehenge as among the greatest of such sites. These are the northernmost examples of circle henges in Britain.

(Above: Ring of Brodgar – September 2020)

There are no known stones within the circle (unlike Avebury, for example) but there has never been a detailed excavation of Brodgar, and wooden structures may have been located within. The Ring of Brodgar was created later than most of the surrounding sites, such as the chambered mound of Meashowe and the nearby settlement of Skara Brae. It is likely that it represented the pinnacle of the work of these mysterious people, who may well have been the forerunners of the Picts.

The Ring of Brodgar is managed by Historic Environment Scotland, whose ‘Statement of Significance’ for the site describes its significance better than I could:

The monuments at the heart of Neolithic Orkney and Skara Brae proclaim the triumphs of the human spirit in early ages and isolated places. They were approximately contemporary with the mastabas of the archaic period of Egypt (first and second dynasties), the brick temples of Sumeria, and the first cities of the Harappa culture in India, and a century or two earlier than the Golden Age of China. Unusually fine for their early date, and with a remarkably rich survival of evidence, these sites stand as a visible symbol of the achievements of early peoples away from the traditional centres of civilisation…The Ring of Brodgar is the finest known truly circular late Neolithic or early Bronze Age stone ring and a later expression of the spirit which gave rise to Maeshowe, Stenness and Skara Brae’

(Quoted from Wikkipedia)

The Ring of Brodgar’s natural setting did not function alone. There is a final addition to the story of Brodgar’s sacred landscape. The mapping of the heavens carried out by the ancient priests required they mark the position of the winter solstice sunset… ideally against a feature on a hill in the landscape, as used throughout the Scottish Pictish world.

(Above: The Brodgar stone marking the winter solstice setting sun points to a valley on the neighbouring island of Hoy)

The chosen position (above) – a valley between two mountains – looks close to Brodgar, but is in fact on the neighbouring island of Hoy. A mysterious shrine, now known as the ‘Dwarfie Stane’ was constructed at the exact spot on Hoy corresponding to this line of sight from the Ring of Brodgar.

(Above: the mysterious Dwarfie Stane on the island of Hoy)

The information board at the Dwarfie Stane reads:

Dwarfie Stane

This unique monument has attracted attention for centuries and many scholars have visited it and theorised. It has been described as the dwelling place of giants, of dwarves, and as the home of an early Christian hermit.

It was actually a tomb, related to the many chambered cairns found throughout Orkney. It dates to between 3500 and 2500 BC. Its construction, carved from a single enormous block of stone, is without parallel in the British Isles. 

The labour involved, given the lack of metal tools, suggests that although small, it may have been of special significance.’

During the 2020 workshop, we did not have time to visit Hoy. But we were fortunate to have stumbled across it on our 2018 personal trip, during which we had visited the neighbouring island. Then, we had no knowledge of the link between Brodgar and the mysterious ‘natural shrine’ we came across on our way to the far side of that mainly uninhabited island.

(Above: from 2018 – Hoy’s dramatic west coast – the Old Man of Hoy is an hour’s walk from here)

(Above: Hoy is beautiful but bleak)

(Above: from 2018, the Dwarfie Stane looks back towards the Ring of Brodgar – lone sentinel of the winter solstice sun)

We took away some wonderful memories of that earlier trip to Hoy. Two stand out in memory. The first was a Persian inscription on the walls of the ‘Dwarfie Stane’, left by a Victorian artist, soldier and traveller, Willam Mounsey. On the outer wall of the tomb, he wrote ‘I have sat for two nights and have found patience’. To me, this immediately suggested a Sufi thought.

No-one knows what its meaning is. But Mounsey was a learned scholar who could speak and write in several middle eastern languages, including Persian and Hebrew. He is believed to have operated as a spy for the British Army. He was an accomplished historian and an authority on the Celts. His work suggests to me that he had a ‘mystical bent’. It’s entirely fanciful, but I like to think he may have sat there, looking back along the line of sight to Brodgar and musing about the spiritual nature of the Celts who created this ‘line of light’.

The second memory is of a startled Bernie seeing a golden eagle minutes later, in the telescope of a bird-watcher parked in the lay-by. He had been watching the eagle on its nest for many hours and offered us each a viewing. Only Bernie saw it… but what an end to the day it had provided.

At the time, we knew nothing of the visual link across Scapa Flow to the Ring of Brodgar, but, now, two years later and standing at the Brodgar marker stone, looking across at Hoy and remembering, I marvelled at how connected our human experience can be…

In the next post we will look at the remaining sites at or near to the Ness of Brodgar and summarise the incredible story of this heart of Sacred Neolithic Orkney.

To be continued.

Notes:

Link to William Mounsey.

Other parts in this series:

Part One, Part Two, Part Three, This is Part Four.

The preceding Pictish Trail weekend blog posts:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

©Stephen Tanham, 2020.

Stephen Tanham is a Director of the Silent Eye – a journey through the forest of personality to the sunrise of Being.

The City and the Stars (3) – The City on the Ness

A ten-minute journey from Stromness, on Orkney, lies an ‘isthmus’ which recent excavations have shown to contain one of the richest archeological concentrations in the world… It is nothing less than an ancient spiritual city, lost to time until the early years of this century.

(1200 words, a ten-minute read)

An ‘isthmus’ is defined as ‘a narrow strip of land with sea on either side, forming a link between two larger areas of land’. It’s an old word, not seen often these days. Scotland – land of lochs, lochans and vast waterways has many of them. But this is a land beyond Scotland, yet just a few miles off its north-eastern coast.

(Above: the isthmus that is the site of five major archeological treasures from 5000 years ago. Picture Source)

We were in the final few days of the Silent Eye’s exploration of the land of the Picts, having reached the tip of the mainland and journeyed to the beautiful archepelago of Orkney – a place so far north you are on a line of latitude with southern Norway.

The arial image above, from the official archeological dig site of the Ness of Brodgar – one of several sites on this isthmus – says it all. It is a land within a land, a place whose location has such intense beauty that you can imagine why the ‘stone’ age priests who came here stopped and stayed to make it not just a home, but a spiritual city.

We have largely lost the sense and meaning of the word ‘Priest’. A priest was a wise one; a teacher of life, a way-shower to relationship. And that relationship was with the world around us. The heart of that relationship was our own individual sense of self, an ‘I’. Later, understood more deeply, the ‘I’ became an ‘I am’ and bore a deeper relationship with the beauty around us. Over time, organised religion has the unintended effect of taking away our relationship with what should be the vivid edge of our own existence. When that happens, we lose the chance to dissolve that barrier…

It is only with the advent of ‘object relations’ psychology’ that we are finally understanding the many facets of the ‘I’, and its importance in the development and maturity of the individual, transiting through separation to maturity… and for a ‘priest’, beyond.

The ancient priests of Orkney did not have the psychology of object relations; but they did have stories and myths; and for those of emotional maturity, they had ritual, an action they knew spoke to a deeper part of themselves, individually and collectively. It took a giant of psychology, Carl Jung, to show our modern age what we had lost in not talking and listening to our deeper minds, to translate the need and usage of ritual into modern language.

We can imagine families, grouped around a fire beneath a sky full of stars, sharing the wisdom stories that would act as a reliable canvas for the experiences of the maturing child, guiding her or him through play, then puberty and into sexual and societal maturity – each aware of their powers and their responsibility to the tribe, the land and, above all, to self. From that, all else flowed.

Thousands of years later, Shakespeare was to encapsulate that thought in Hamlet:

“This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man…” (my italics).

For the ancient priests, the truth was written by nature into the world – as experienced by a self-honest human. The land had the properties of earth: it was solid and held the seeds of that which fed them. These were farming people, and the seasons of growth, fullness, harvest and fallowness were profound truths, whose existence was self-evident. Their own bodies were sustained by the air and the earth and the earth in turn was sustained by the seasons, powered in shorter and longer cycles by the moon and sun. The moon was strongly linked with women, the sea and the shorter cycles of sex and fertility; the sun controlled the longer cycles of life-giving energy that flowed from the sky onto the earth… and specially for humankind, into the daily miracle of fire, something no other creature seemed to possess.

The great story of this relationship with nature was told in the heavens. The priests, as with any civilisation, were deeply concerned with the constantly unfolding saga within which life on their given and fertile ‘earth’ was set. People’s natures were indicated – though not entirely – by the placing of the mysterious ‘wanderers’ in the sky – what we now know as the visible planets – ending with Saturn, the limit of unaided sight without magnifying lenses.

(Above: the constellation of Orion, the Hunter)

Within the city of learning that was built here, the isthmus, surrounded on nearly all sides by a soft and gentle sea, had a special relationship with the constellation of Orion – the hunter, which is bright and easily visible at these latitudes. The symbolic link, and the stories told of its significance to the ancient people of Orkney is lost to time…

The Ness of Brodgar is the name of the isthmus that separates the lochs of Harray and Stenness. The name derives from the Old Norse nes – headland; brúar – bridge and garðr – farm, and translates roughly as the “headland of the bridge farm”.

Within this small area of land are several ancient archeological sites. The image below gives an idea of the sheer scale of what has been recently uncovered.

(Above: one of the information panels from the Ness of Brodgar’s excavation site. These are freely downloadable as PDFs here. The site asks you to consider a donation to help it further its vital work)

The Ness is the centre of the Neolithic Orkney World Heritage Site. The Ness is covered in, and surrounded by, ancient archeology. Until the start of the 21st century, this was best known as the location of the Ring of Brodgar. That changed in 2002 when, on the south-eastern end of the Ness, excavations revealed a massive complex of monumental Neolithic buildings along with associated artwork, pottery, bones and stone tools. The design of the dwellings here closely resembles that at Skara Brae, and hence my suggestion that they may have been tightly linked.

The Ness is only open to visitors at specific times of year. The Covid restrictions meant that it was closed during our visit. But the websitehttps://www.nessofbrodgar.co.uk/about-the-ness-of-brodgar/ is rich in information.

The Ring of Brodgar is an open site and was not subject to Covid restrictions, apart from social distancing. Situated on the isthmus between the Lochs of Harry and Stenness. It is one of the best stone circles in the world and originally comprised 60 megaliths, of which 27 remain upright. It is a perfect circle, 104 metres in diameter. In the next post, we will examine it in detail.

(Above: The Ring of Brodgar)

To be continued.

Other parts in this series:

Part One, Part Two, This is Part Three.

The preceding Pictish Trail weekend blog posts:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

©Stephen Tanham, 2020.

Stephen Tanham is a Director of the Silent Eye, which offers a distance-learning program to deepen the personality and align it with the soul.

The City and the Stars (2) – Skara Brae’s Ancient Houses

Skara Brae’s modern story began in 1850 when a violent sea-storm tore off the layers of grass, sand and soil that had covered what appeared to be two ancient and completely intact Neolithic houses. For 4,000 years, they had been lost to history, having been mysteriously abandoned.

(1000 words, a ten-minute read)

The local landowner at the time was William Watt, who lived at Skaill Hall, which is located next to Skara Brae and can be visited in its own right. Watt explored the two exposed houses and collected many objects. Like several other local explorers, Watt left few records of his work. In the 1860s, George Petrie, an able Orcadian historian and antiquarian, made frequent visits to the site and discovered there were other buried houses. He made copious notes and left them to public posterity. By the end of 1867, this dedicated man had cleared and documented the contents of Houses 1,3,4 and 6. – See key below.

(Above: Professor Gordon Childe)

This foundational work paved the way for the detailed excavations carried out by Gordon Childe, the first Professor of Archeology at the University of Edinburgh. It was due to Professor Childe’s work that Skara Brae became one of the foremost Neolithic sites in the world.

(Above: a modern schematic of the eight houses plus a ‘workshop’) at Scara Brae)
(Above: a modern drawing (Jim Proudfoot) showing how the settlement of Skara Brea is likely to have looked 5000 years ago)

The far side of Skara Brae is adjacent to the present beach of Skaill Bay. The sea level has risen and gradually encroached. When the village was occupied the bay was fertile farmland. The new outer wall is massively reinforced to protect the site well into the future. Skara Brae has been classified as a World Heritage Site and is cared for by Historic Scotland.

The whole site is around 100 metres across. It’s compact, and most of the houses are connected by internal paths and what appears to be stone plumbing! You can simply ‘feel’ the quality of the dwellings, as though something of their ancient spirit survives…

The long path from the visitor centre brings you to Houses 10, 9 and 7. The path narrows but continues around the site. It has been constructed at a higher level allowing visitors to look down and into the ancient dwellings. You can’t actually go into the houses, but you can get very close.

(Above: House 7, showing the central hearth, the alcoves for the beds and the ‘dresser’ on which the family’s precious objects would have been stored… or was there another purpose? More on this, later)

The entire village of Skara Brae was set into a midden, which had been transported from another site as a prerequisite to building the house structures. The midden was essentially a rubbish tip for organic waste – food, shells, carcasses of animals. As it decomposed it gave off heat and warmed the houses. It might have been smelly but it was warm! Humour aside, it showed the sophistication of both planning and living in this ancient settlement.

(Above: House 9, adjacent to House 7)

All the surviving houses at Skara Brae are remarkably similar to each other. The main building material was stone, which was locally available. For all the houses, the outer and inner faces of the walls are dry stone, meaning without mortar. The spaces between the walls were packed with additional midden material, as detailed above. The resulting wall was over two metres thick. The midden core of the buildings not only provided heat, it kept the houses waterproof as well.

(Above: House 1, the nearest to the present sea wall)

Historically, it had been thought that the roofs – possibly constructed of whalebone and cloth – were kept low because of the winds. But recent evidence suggests they were conical, high, and lined with eel grass which absorbed smoke, allowing a much more pleasant interior space.

(Above: House 5, close to the centre of the village)

Detailed excavation has revealed that each house had at least one ‘storage cell’. The larger dwellings had a large storage cell that linked with a central drain with running water. This points to the provision of toilets at Skara Brae, their earliest known use in Britain.

(Above: a central covered corridor linked most of the houses from the inside. Stone slabs formed the doors, and could be locked into position from the inside)

(Above: Structure 8, or the Workshop)

‘House 8’ was the only building in the settlement which was not actually a house. Whilst there was a central hearth, it lacked beds and a dresser. Known as Structure 8, it appears to have been a workshop for making stone tools and perhaps pottery, bone tools and wooden implements. The walls were thicker than the other houses because they were not dug into the midden for support and heat.

(Above: Another photo of Structure 8, a more detailed view of its segmented interior)

To my mind, the ‘dressers’ are the most curious aspects of the houses in the settlement. The guide book admits they may have been individual shrines, something I hadn’t read prior to this visit. Being close to them, again, there came the strong conviction that the dressers were holy places within the houses. Moreover, given the opulent nature of the settlement, I strongly felt there was a good chance that Skara Brae did not house ordinary farming people.

(Above: the symbolic and all-important ‘dresser’)

I consider it possible that the whole of Skara Brae was a ‘school’ for a priesthood whose central authority was a few miles away at the Ness of Brodgar – next to the famous Ring of Brodgar. I will go into more detail in the next post. The picture of Orkney thrown up by the continued sophistication of the finds at the Ness of Brodgar has changed, dramatically, and there is world-wide interest in its potential to update the history of this part of the world.

The more you learn about Orkney, the more it is evident that, in Neolithic times, it was the centre of a pivotal civilisation. It is likely that these people were the forerunner of the Picts, driven south by some unknown force or, possibly, warring armies from pre-Viking Scandinavia.

The group, quiet with the depth of the experience, moved back to the cars. We had important things to consider, and the Ring of Brodgar was only a few miles away and our next stop…

To be continued.

Other parts in this series:

Part One, This is Part Two

The Pictish Trail weekend blog posts:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

©Stephen Tanham, 2020.

Stephen Tanham is a Director of the Silent Eye, which offers a distance-learning program to deepen the personality and align it with the soul.

The City and the Stars (1) – Skara Brae

With the Pictish Trail weekend a long car journey and a boat ride behind us, we had awakened in Stromness to the early morning of an overcast Orkney day – The excavated and intact Neolithic village of Skara Brae was a few short miles away…

(1300 words, a ten-minute read)

We had not expected to be here at all. Visiting Orkney for the second part of our Pictish Trail journey had seemed impossible because of Covid restrictions. But there were signs that things were relaxing and even re-opening. Our potential companions for the extended weekend had urged us to keep trying, so we’d put ourselves on every visitor ‘notification list’ possible.

In the end, we couldn’t call it with any certainty, and simply contacted everyone who was interested and asked if they’d be prepared to risk it… Everyone said yes; that it was worth it just to go to Orkney, regardless of what was open or not… In the largest sense, there was an act of faith, here…

Our ferry tickets and accommodations in Stromness were booked. There was no going back; we’d just have to make do with what we could achieve on each day. Stromness and Kirkwall, the capital of Orkney, were worth at least a day each, and we only had three. Then we got a message saying the Neolithic village of Skara Brae had opened for a limited number of bookings which were to be strictly time-controlled. Within minutes, Bernie had responded and we had our visit: 10.00 am on the morning after our arrival. Getting off the ferry, with our hotel just at the end of the quay, one of our party was so excited, she was literally hopping from foot to foot…

We had only a few days to give our group a taste of this wonderful archipelago, situated just a few miles off the coast of north-east Scotland. It’s a world of its own – especially in terms of its ancient history. We’d been here once before and couldn’t wait to share it. In addition, since I was here last, work done on the Neolithic civilisation on Orkney was being revolutionised by the new findings at the Ness of Brodgar. I had my own views on some of it…

Now, we were at Skara Brae, just a few miles from Brodgar, on the Orkney Mainland. There was a queue to get into the visitor centre of this 5000 year old ‘village’. We’ll come on to why I’ve put that in quotes, later…

We were awaiting our timed entry to access the walkway to the actual village when I read the graphic above. It puts everything into perspective. I’ve reproduced it below:

You have come to a village which started life around 3100 years BC. Before Stonehenge, the Great Wall of China, and the Pyramids of Egypt were built. This is the oldest village in Europe where you can still see the houses with their original stone furniture intact.

For reasons I’ll go into later in these posts, I’m not sure it was an ordinary village. I think it was something far more exciting.

Then the hour turned and we were socially-spaced and walking through the descriptive graphics, towards the sophisticated reconstruction of one of the eight houses beyond. The visitor is not allowed to descend into the real dwellings, but a landscaped walkway around the entire village has been constructed to allow close visibility – from above, in most cases.

To compensate for this, the reconstructed house at the entrance of the site is an exact reproduction that you can enter to immerse yourself in Neolithic life. I had been fascinated by it on our visit in 2018 and couldn’t wait to see its effect on our companions.

But, sadly, it wasn’t open…too small an enclosed environment to accommodate the restrictions on social distancing. However, I do have photos from our first trip, so here’s a visual journey through what would normally be available.

(Above: The replica house at Scara Brae is modelled on House 7 (see map) and gives the essential feeling of height not apparent from looking down at the real houses from the walkway. House 7 was excavated by Professor Gordon Childe in 1928 (below). When he found it, it had no roof. He dug down through the sand to find the layers where people had lived)

(Above: Gordon Child, the principle archaeologist who excavated Skara Brae in the years 1928 to 1931)

(Above: The real House 7 is shown on the site map: bottom row, middle. We would be visiting that next)

(Above: the reconstructed ‘sail-cloth’ and timber roof)

(Above: the central hearth contained ashes and red clay)

(Above: there are two box beds, The fireside slab of one of the beds had carvings on it, worn away in the middle, as if by people climbing in and out of the pen. A decorated pot was also found in the bed. Above the beds are cupboards set into the wall. Intriguingly, skeletons of two women were discovered buried partly under the house wall behind one of the beds…)

(Above: the ‘dresser’ – my italics – The top shelf of the dresser was found to be bare, but on its lower shelf were pieces of pottery and burnt bones. There was a storage cell in the room, but it may have been linked to drains found under some of the other storage cells in the village. The astonishing possibility that they may have served as indoor toilets cannot be ruled out)

Near to the ‘model house’ is an information board that sets the scene for the actual village, which lies a few hundred metres away, on the edge of the sea. Here are two useful excerpts.

(Above: a more detailed scale map of Scara Brae)

‘5000 years ago the villagers who decided to settle at Skara Brae did so for good reasons.

This was a land of plenty, with rich fertile soil for grazing cattle. The temperature then was a few degrees warmer than it is now, making it easier to grow crops. In the uncultivated land wild deer and boar roamed.

Birch Hazel and willow trees formed sparse scrubland. Wild berries and herbs grew. The lochs and sea were stocked with fish. Driftwood from the virgin forests of America was regularly cast up on the beach.

The cliffs supported colonies of sea birds important for their meat and eggs. Seaweed provided a plentiful supply of fuel. The abundant stones, clay and pebbles were useful building materials.

Today the landscape differs in one important respect: 5000 years ago the sea was much further away from the village. Land once covered the area which now forms the adjacent Bay of Skaill. This area of land held a loch or lochans which gave the people a vital supply of freshwater. Over hundreds of years the cliffs were gradually eaten away by the sea and sand dunes formed. This process of erosion was already beginning in the early life of the village…’

(Above: the elevated walkway snakes around the Skara Brae village, allowing a thorough visual exploration without actually entering the 5000 year old dwellings)

The reproduced House 7 and the information boards had served us well. Everyone had taken what little time the visitor centre would allow to study what was coming. Now we had a few hundred metres to walk to get to the real Skara Brae. As we walked, there was a palpable but delighted feeling of disbelief that this was actually happening…

To be continued next Tuesday.

To be continued…

This is Part One of the City and the Stars – a continuing mystical trip through north-east Scotland and Orkney on the trail of the Picts.

The Pictish Trail weekend blog posts:

Part One, Part Two, Part Three, Part Four, Part Five, Part Six, Part Seven, Part Eight, Part Nine

©Stephen Tanham, 2020.

Stephen Tanham is a Director of the Silent Eye, which offers a distance-learning program to deepen the personality and align it with the soul.

The Entered Dragon (6) : figures in the mist

Continued from Part Five

Centre stage, the King smiles at us. His gaze is strong but gentle. As our eyes touch his, we feel the sense of purpose he holds. Courage and force reflect in the subtle colours that draw us into his very being. We feel renewed by this contact, shown that the burden of what we must face in the day-world is only a necessary stage in our lives; that the sense of inner royalty he represents will carry us far beyond its confines – if only we will hold those eyes…

The scene pans backwards from the purposeful orbs. The gentle hands of the Queen still rest on his shoulders. She smiles, knowing that we have absorbed the essence of this encounter. She brings her face closer to that of the King, and, as their skin touches, we feel her perfumed presence close to our own. It races through our being, filling us with a love and longing that leaves us agape.


In this final part of the series, we examine the nature of what Carl Jung named the ‘Archetype’. Archetypes are an active part of our shared unconscious. They are energy patterns at work within the most fundamental part of us. When we come into contact with them, we are seeing a personalised representation for our life, alone. But the type of figure, represented, for example, by a King, is shared with all humans. In this we can see why such types have been with us in myth, legend, poetry and song for as long as we have remembered and recorded our most meaningful experiences.

We have seen that the whole of the human unconscious is simply the other half of what we are, consciously. Our lives contain what is embraced and what is rejected. But what is rejected does not go away. It is part of our experience and was/is there for a reason. Like the ancient yang and yin, it is the rhythm of alternation of dynamic and passive – simplified, often, as male and female, but more subtle in reality.

(Above: the yin/yang symbol, ancient symbol of permanent, harmonic change)

Both have their own power, there is a time to be resistant and a time to embrace, we need to know when to use both, and watch the flow and dance of the harmony of our lives, free, within their selves, of society’s expectations and rules. The unconscious gives us this power, liberating and releasing its vast energies… if we can learn to communicate with it.

There are two techniques we may use to allow the unconscious to communicate with our waking intellect and emotions. The first is by being more conscious of our dreams; the second is a technique known for thousand of years and held sacred within the heart of whole civilisations: active imagination.

Our personal unconscious tries to communicate with us using images and symbols. It does not use our daily language. Dreams are full of images. We normally dismiss these as simply a stream of random recollections from a brain that is half-asleep. But investigation will reveal that they are more than that. They are our own unconscious trying to communicate important perspectives to us. These might include the deeper nature of a current problem causing us great distress.

Habitually, we pay little attention to the detail of dreams. We have to relearn to be aware of the content of dreams, and allow a residue of what we observe to lie in a part of our memory from which we can retrieve it in the morning, writing it down as soon as we wake so that we have a record. Later in the day, its vividness will have faded, but, if we get used to a personal way of noting down the details, we can return to their important points.

As an example, one of my recent dreams was of a black and white comic book. In the dream the actual events of my life were being rendered as part of this book. What did this mean?

Here we enter a second stage of understanding our dreams. We need to take that ‘kernel’ of the dream and let the conscious mind ‘fly free’ with it so that it may make an interpretation. This is not a matter of intellect. Our intellectual minds are used to dominating how we perceive. We should try to maintain a gentle and passive state, forcing nothing, but allowing a reflective part of our minds to ‘mull over’ the stored nugget of the dream. If we make this a habit, the dream kernel will become a trigger and suggest to us the personal relevance of the image or symbol, without needing the use of reason. In my own example above, I concluded that the part of my life illustrated in the ‘black and white comic’ was not receiving the attention it deserved, and would shine in colour if I corrected this…

The other route by which we may converse with our unconscious is what Carl Jung called Active Imagination. Here, we deliberately let our waking consciousness follow a conscious script of imagination. This may be provided for us by a book, or be part of a series of imaginative journeys created by a school such as the Silent Eye. The essence of the induced, inner experience will be a journey of some kind. In that journey we will find archetypal figures like, for example, Kings, Hermits, Warriors, Lovers and Chaste Maidens. We may encounter withdrawn figures who hide from life, but whose knowledge is great. We may find that our King is withdrawn, but strangely not defeated. We may find that he (or a corresponding Queen) is waiting for the arrival of a Hero, one uniquely equipped to heal a rift in the land.

Such an inner journey of active imagination needs to be based upon time-honoured principles in order to engage the unconscious. It is the true work of any school of the mysteries to provide these, and guide others through the journeys – though the real value is the unique experience to be had by the ‘hero’ of the hour – the person carrying out the active imagination.

I suspect that Carl Jung did know of the ancient use of such techniques within magic and the mystical. His great gift was to investigate it, rigorously, and describe it in terms acceptable to the world of psychology. We owe him a great debt for his insight and the descriptive language he bequeathed.


The stage is quiet. The King and his Lover have gone. But one image remains, that of a pair of eyes. Unafraid, we draw closer, finding them strangely familiar. As the swirling mist clears, we realise that they belong to us, that they are a living mirror, yet subtly different, of our self’s eyes. They have much to say to us, as we come together in the laughing depths of our own most secret place..

Other parts in this series:

Part One, Part Two, Part Three, Part Four, Part Five This is Part Six, the final part.


©Stephen Tanham

Stephen Tanham is a Director of the Silent Eye School of Consciousness, a not-for-profit teaching school of modern mysticism that helps people find a personal path to a deeper place within their internal and external lives.

The Silent Eye provides home-based, practical courses which are low-cost and personally supervised. The course materials and corresponding supervision are provided month by month without further commitment.

Steve’s personal blog, Sun in Gemini, is at stevetanham.wordpress.com.