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The Modern Antiquarian

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Curators Farley and Weetch are refreshingly defiant in defining the Celt as inclusively as possible – at pains throughout to provide maps and more maps of the Celtic worldview as its truth has migrated down the centuries. We moderns may too-often suffer from a mixing up of historical sequences, but better that, surely, than risk raising a population that is entirely not-arsed about its past. The proliferation of armchair archaeologists across the UK attests to the continued fascination that the ways of our ancestors invoke in so many of us. By keeping steadfastly to their inclusive vision of all things Celt, Farley and Weetch are helping to instil in future generations the kind of open-mindedness that has enabled our democracy to thrive. Cope’s Notes 5 explains the precise impulses that sent the Archdrude off life’s urban highways into the nether regions of Ye Olde UK, and how he extricated himself from the Music Biz long enough to bring forth this monster tome. To be fair, owners of the 1:25k map will note that three of the linear alignment of monuments are named... so perhaps I shouldn't have been so surprised, but there you are. This, the 'Yellow Cairn' crowning 1,070ft Pen-crug-melyn at the eastern extremity, is pleasingly bathed in an orangey/yellow(ish) glow as the sun briefly reasserts its dominance following a couple of hours of intense downpour. So, needless to say, the locals know where they're at. As usual. Cope is also a recognised authority on Neolithic culture, an outspoken political and cultural activist, and a fierce critic of contemporary Western society (with a noted and public interest in occultism, paganism and Goddess worship). Cope’s innovative gazetteer opened up the landscape to a whole new generation of walkers, psychonauts and amateur historians. Unlike many archaeological accounts, there is no concrete conclusion, as it is a work that explores suggestion, albeit with a frequently esoteric angle.

These files have been tested on both the stable (v3) PC and beta (v4) Mac versions of Google Earth on both Mac and PC. However, if you encounter any problems—or have suggestions for ways in which it could be improved—please post them in our forum. His voice was rich, velvety and ever so slightly posh; Cope was unlike anyone I had ever seen or heard before. In the grim meat-and-potatoes land of late-90s fashion, he looked like he had landed from outer space. And not in a contrived way either, though truth be told he did look like a bit of a berk. What he said that night connected with me on a superficial level. Why would we travel halfway around the world to visit the Nazca Lines or Chichén Itzá, when there were equal treasures on our doorstep, he asked. Easy for you to say that, I thought to myself, when I could barely afford the bus fare into town that night, never mind a trip to the Isle of Lewis to look at some old stones. However, my interest was piqued, as I had recently devoured a copy of Head-On and thought perhaps there was something of interest in what the Arch Drude had to say. According to Cope, Avebury, in the Marlborough Downs, was as culturally significant as The Stooges, which gave me cause to investigate his claims further, and even now, 22 years later, I am still chipping away at this idea. Here at the museum is the greatest Celtic find of all: the legendary Gundestrup cauldron. It’s my all-time favourite prehistoric artefact: huge, silver, magnificent. Wonderful castings of Norse gods, men, animals and mythological beasts festoon its sides, while a recumbent bull guards its basin. The cauldron is striking for its characters and stories (most Celtic art is non-figurative) but I long ago decided it was pointless trying to itemise these snake-gripping figures, as the Celts had so many local pantheons. Unzip this archive and open the 'TheModernAntiquarian-20231125.kml' file with the Google Earth application.

The modern antiquarian

within that transformed the assumed banality of the English landscape into something magical and eternally compelling. Climbing aboard the 1781 bandwagon created by Iolo Morganwg’s brand new Society of the Ancient Druids, towns across Britain revived or even invented their own Celtic-styled festivals, my personal favourite being the “ancient” Cornish street theatre of Padstow’s Obby Oss, first recorded in 1803. Julian Cope at Silbury Hill, Wiltshire by Cat Stevens. All other photographs courtesy of Adelle Stripe My all-time favourite prehistoric artefact’: the silver Gundestrup cauldron, uncovered in 1891 in Denmark. Photograph: British Museum Compelling too is the St Peter’s Kirk Pictish-symbol stone discovered on the north-east coast of South Ronaldsay. Again, this 5ft-long sandstone monolith stands way outside accepted Celtic regions, right at the edge of the ancient Norse world. The Papil Stone, removed from the grounds of a Shetland monastery close to the Viking stronghold of Jarlshof, is another artefact brought from outside perceived Celtic realms, but this always-thorough exhibition shows us Viking jewellery directly influenced – nay, copied – from its Celtic neighbours. On display is one very large Viking 10th-century open-ring brooch discovered on Orkney’s glorious Bay of Skaill. In the exhibition cabinet, this huge brash silver artefact – originally dug up near the Neolithic village of Skara Brae – dominates its far earlier Celtic neighbour like some overly chromed 1950s Cadillac parked up next to an Austin Allegro.

Julian Cope studies William Stukeley’s book at the Celts exhibition. Photograph: Linda Nylind/The Guardian An ornate silver, gold and amber brooch found in Hunterston, Scotland, from 700-800AD. Photograph: National Museums ScotlandJulian Cope is one of Britain’s best known and most-celebrated post-punk visionaries. In this historical masterpiece, he takes us on an unforgettable journey across the British Isles, uncovering the first temples ever built and their myriad descendants, the relics of which can still be seen today.

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