From Wikipedia:

The museum’s location was formerly the site of a late 12th-century motte and bailey castle, built in 1160 to protect the Tay crossing. A great flood in 1209 washed the castle away. The King, William I, was staying in it at the time and had to escape with his wife and entourage by boat to Scone.

The Marshall Monument was designed by David Morison and sculpted by John Cochrane and Brothers.

Construction began in 1822, and it was opened as a library and museum by the Literary and Antiquarian Society of Perth in 1824. It is one of the United Kingdom’s oldest purpose-built museums, and in 1915 it was gifted to the city by the Society on the condition that it was continued to be used only as a library or museum.

Image Details
Date: 28 March 2026
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 55mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,000s
ISO: 250
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia:

James Guthrie (c. 1612 – 1 June 1661), was a Scottish Presbyterian minister. Cromwell called him “the short man who would not bow.” He was theologically and politically aligned with Archibald Johnston, whose illuminating 3 volume diaries were lost until 1896, and not fully published until 1940. He was exempted from the general pardon at the restoration of the monarchy, tried on 6 charges, and hanged in Edinburgh.

James Guthrie was born about 1612 and said to be son of Guthrie of that ilk. He graduated with an M.A. from St. Andrew’s University. He subsequently became a regent in St Leonard’s College, St Andrews. He was one of those whom the Assembly, 16 December 1638, found ready to supply vacancies. He was not ordained until a few years later when he was called to Lauder in 1642, where he stayed for 7 years. He was selected with three others to wait upon Charles I at Newcastle in 1646 with a letter from the Assembly. He preached before Parliament on 10 January 1649, and was thanked by it. He was appointed a commissioner for visiting the Universities of St Andrews and Edinburgh that year. He was translated and admitted to the Church of the Holy Rude in Stirling in November 1650. He took an active and leading part in the business of the Church, and by a small majority in the Assembly got General John Middleton, afterwards the Earl of Middleton, excommunicated, announcing the sentence from his own pulpit, notwithstanding an appeal by the King. He and Bennett, his colleague, were required by His Majesty and the Committee of Estates to repair to Perth, 19 February 1651, to answer for preaching against the Public Resolutions agreed to by Church and State in order to a levy, but they refused.

He was deposed by the Assembly, 30 July following, for having joined in the Protestation against the lawfulness of that Assembly. He and others holding similar views thereupon formed a separate Church under the protection of Cromwell. Along with others of the Protesting brethren, having met in Edinburgh to draw up a congratulatory address and supplication to Charles II, he was seized and imprisoned in Edinburgh Castle 23 August 1660. His stipend was sequestrated 25 September, and he was removed to the prison of Dundee 20 October, from thence to Stirling and again to Edinburgh, where he was tried before Parliament, 25 May 1661, found guilty of treason, sentenced to death 28th, hanged at the Cross of Edinburgh on 1 June 1661. His head was placed on the Netherbow Port. The sentence of forfeiture was rescinded by Parliament 22 July 1690, and his skull, after being a public spectacle for about twenty-eight years, was removed by Alexander Hamilton, then a student at the university, who afterwards succeeded the Holy Rude Church in Stirling. From his determined support of Presbyterian principles, Guthrie was named siccar foot (the Scots term for a sure-footed person), the avowed leader of the Protesters, and their secretary and champion. He married Jane (buried in Greyfriars, 15 March 1673), who was the daughter of Ramsay of Sheilhill, and had issue – William, died on the eve of being licensed at Edinburgh April 1674; Sophia, who, along with her mother, was in 1666 banished to a lonely prison in Shetland for having in their possession a copy of John Brown’s Apologeticall Relation of the Particular Sufferings of the Faithful Ministers and Professors of the Church of Scotland.

From Wikipedia:

Ritchie was born in Musselburgh in 1804, the son of James Ritchie, a local brickmaker and ornamental plasterer, and his wife Euphemia. The father in turn was the son of a fisherman and amateur sculptor.

After studying architecture he turned to sculpture. In 1823 he studied under Samuel Joseph at the Edinburgh School of Arts. He briefly also studied anatomy at Dr. John Barclay’s Anatomy School in 1822. He studied in Rome under Bertel Thorvaldsen from 1826 to 1830, under the sponsorship of Walter, 5th Duke of Buccleuch. A favourite of Thorvaldsen he was awarded a gold medal under his tutorship.[1] In 1830 he returned to Musselburgh where he held a studio for 12 years, then opened a sculpture studio at 92 Princes Street, Edinburgh in 1842. He had a yard at 4 East Broughton Place where most of the work was done. Ritchie trained other sculptors such as John Rhind here.

His brother John Ritchie assisted him on some works, working from the same studio. He also worked with and trained John Rhind, Alexander Munro and George Anderson Lawson.

He was elected an Associate of the Royal Scottish Academy in 1846. In 1854, he moved his studio to Mound Place in the centre of Edinburgh, living nearby at 92 Princes Street. He retired in 1861, but maintained a studio at Coates Place in Edinburgh, where he held a final exhibition in 1862. He returned to his family home at Herkes Loan, Musselburgh and spent his final years in the care of his sister Euphemia. He had no wish for riches and they lived frugally.

He died on 24 April 1870, leaving £6 10s 6d in his will. He is buried in the churchyard of St Michael in Inveresk just outside Musselburgh. He lies to the east side of the south entrance path, facing away from the path. He had no family and the grave is very humble. It is marked as being erected by his “brother sculptors WB and JR” presumed to be William Brodie and John Rhind.

It is presumed he was descended from the local farming family, the Handasydes, of whom Archibald Handasyde was a stonemason responsible for the carving of a sundial on the session house of St. Michaels in 1785.

Object description
Type: Statue, monument
Location: Old Town Cemetery, Stirling
Material: Stone
Artist: Alexander Handyside Ritchie (1804-1870)
Date: 1859

Image details
Date: 1 February 2026
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 38mm
Aperture: ƒ/4.8
Shutter Speed: 1/500s
ISO: 800
Licensing: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia:

Ebenezer Erskine (22 June 1680 – 2 June 1754) was a Scottish minister whose actions led to the establishment of the Secession Church (formed by dissenters from the Church of Scotland).

From Wikipedia:

Ritchie was born in Musselburgh in 1804, the son of James Ritchie, a local brickmaker and ornamental plasterer, and his wife Euphemia. The father in turn was the son of a fisherman and amateur sculptor.

After studying architecture he turned to sculpture. In 1823 he studied under Samuel Joseph at the Edinburgh School of Arts. He briefly also studied anatomy at Dr. John Barclay’s Anatomy School in 1822. He studied in Rome under Bertel Thorvaldsen from 1826 to 1830, under the sponsorship of Walter, 5th Duke of Buccleuch. A favourite of Thorvaldsen he was awarded a gold medal under his tutorship.[1] In 1830 he returned to Musselburgh where he held a studio for 12 years, then opened a sculpture studio at 92 Princes Street, Edinburgh in 1842. He had a yard at 4 East Broughton Place where most of the work was done. Ritchie trained other sculptors such as John Rhind here.

His brother John Ritchie assisted him on some works, working from the same studio. He also worked with and trained John Rhind, Alexander Munro and George Anderson Lawson.

He was elected an Associate of the Royal Scottish Academy in 1846. In 1854, he moved his studio to Mound Place in the centre of Edinburgh, living nearby at 92 Princes Street. He retired in 1861, but maintained a studio at Coates Place in Edinburgh, where he held a final exhibition in 1862. He returned to his family home at Herkes Loan, Musselburgh and spent his final years in the care of his sister Euphemia. He had no wish for riches and they lived frugally.

He died on 24 April 1870, leaving £6 10s 6d in his will. He is buried in the churchyard of St Michael in Inveresk just outside Musselburgh. He lies to the east side of the south entrance path, facing away from the path. He had no family and the grave is very humble. It is marked as being erected by his “brother sculptors WB and JR” presumed to be William Brodie and John Rhind.

It is presumed he was descended from the local farming family, the Handasydes, of whom Archibald Handasyde was a stonemason responsible for the carving of a sundial on the session house of St. Michaels in 1785.

Object description
Type: Statue, monument
Location: Old Town Cemetery, Stirling
Material: Stone
Artist: Alexander Handyside Ritchie (1804-1870)
Date: 1859

Image details
Date: 1 February 2026
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 38mm
Aperture: ƒ/5
Shutter Speed: 1/500s
ISO: 720
Licensing: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

Image details
Date: 1 February 2026
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 31mm
Aperture: ƒ/4.5
Shutter Speed: 1/500s
ISO: 560
Licensing: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

The Plymouth Naval Memorial is a war memorial in Plymouth, Devon, England which is dedicated to British and Commonwealth sailors who were lost in World War I and World War II with no known grave.

After World War I, the Royal Navy wanted to find a way to commemorate sailors and Royal Marines who had died at sea and had no known grave. An Admiralty committee recommended building memorials at the three main naval ports in Great Britain – Plymouth, Chatham, and Portsmouth. The memorials at all three sites were designed by Sir Robert Lorimer with sculpture by Henry Poole.

During World War II, the cable of a runaway barrage balloon struck the globe at the top of the memorial, leaving a large dent which has remained ever since.

Following World War II, the naval memorials were expanded to commemorate the dead from that war. Sir Edward Maufe performed the architectural design for the expansion at Plymouth, and the sculpture was by Charles Wheeler and William McMillan.[1] The work was carried out by Martyns

The Plymouth memorial also bears the names of sailors from Australia, South Africa, and India. The Plymouth Naval Memorial commemorates 7,251 sailors of World War I and 15,933 of World War II.

Other memorials in Halifax and Victoria in Canada, Auckland, New Zealand, Mumbai, India, Chittagong, Bangladesh, and Hong Kong commemorate sailors who came from those parts of the Commonwealth. The Newfoundland Memorial at Beaumont Hamel in France bears the names of 229 Newfoundland sailors lost at sea during World War I.

The memorial is maintained by the Commonwealth War Graves Commission. It became a Grade II listed building in 1975, upgraded to Grade II* in 1998, and was further upgraded to Grade I in May 2016 for the centenary of the Battle of Jutland.

Image details
Date: 12 September 2024
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 18mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,600s
ISO: 200
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

The annual Miners’ Memorial Service for Northumberland uses the Ashington Miners’ Memorial at Woodhorn as a focus for commemorations, with attendees paying their respects and laying wreaths at the foot of the plinth in memory of relatives, friends and workmates. Originally the memorial commemorated the Woodhorn Colliery disaster of 1916 but it has come to symbolise much more to the communities of the area.

The Ashington Miners’ Memorial was commissioned and paid for by mining unions and the Ashington Coal Company. It was erected in 1923 and located on Sixth Avenue, Hirst Park, Ashington. It was designed by William Henry Knowles (1857-1943), a renowned Newcastle Architect, and sculpted by John Reid (born c. 1890), Master of Sculpture at Armstrong College, Newcastle. It was moved and re-erected in 1991 at Woodhorn Colliery Museum.

The instinct to commemorate mining disasters and the tragic loss of life associated with these terrible events is not new. The tradition of memorial glasses attests to this phenomenon, but the erection of a large, accomplished sculpture however, is more unusual.

The grade II listed memorial is in the style of a World War One war memorial but, unusually, it is dedicated to a civilian accident. It features a bronze figure of a mining deputy holding a safety lamp in an outstretched hand. The figure stands on a white granite plinth and pedestal with low relief bronze panels and two drinking fountains.

The dedication inscription reads ‘ERECTED BY/ THE MINERS AND/DEPUTIES TRADE-/UNION BRANCHES IN THE ASHINGTON GROUP/OF COLLIERIES (ASSISSTED/BY DONATIONS FROM THE/ASHINGTON AND CO. LTD., THE NORTHUMBERLAND/MINERS ASSOCCIATION, THE NORTHUMBERLAND/DEPUTIES ASSOCCIATIONS AND FRIENDS)/IN MEMORY OF THEIR FELLOW WORKMEN WHO LOST THEIR LIVES IN THE WOODHORN COLLIERY EXPLOSION ON SUNDAY, AUG. 13 1916.’

The memorial was unveiled in a ceremony on 18th August 1923 by Scottish born Labour M.P. Robert Smillie.

Image details
Date: 10 July 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 105mm
Aperture: ƒ/4.5
Shutter Speed: 1/1,250s
ISO: 200
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

Object description
Type: Sculpture
Location: Pier Head, Liverpool
Material: Bronze
Artist: Sir William Goscombe John RA (1860-1952)
Date: 1916

Image Details
Date: 26 March 2022
Camera body: Nikon D50
Lens: Nikkor AF-S DX 18-55mm ƒ3.5-5.6G ED
Focal Length: 48mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,000s
ISO: 280
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia

Wellington’s Column, or the Waterloo Memorial, is a monument to the Duke of Wellington standing on the corner of William Brown Street and Lime Street in Liverpool, England. It is recorded in the National Heritage List for England as a designated Grade II* listed building.

After the Duke’s death in 1852, in common with other cities, Liverpool decided to erect a monument to celebrate his achievements. A committee was established to organise public subscriptions, but the money was slow to come in. A competition was set up in 1856 to find a designer for the column, and this was won by the architect Andrew Lawson of Edinburgh. There were further delays while a suitable site was found, with sites at the top of Duke Street and Bold Street, in front of the Adelphi Hotel and Prince’s Park being considered before the eventual location was settled on. In 1861 a second competition, this time for the statue of the Duke, was won by George Anderson Lawson, brother of the column’s designer. The design of the column and plinth closely resembles that of the Melville Monument commemorating Henry Dundas, Lord Melville in St Andrew Square, Edinburgh, itself loosely modelled on Trajan’s Column in Rome.

The foundation stone was laid on 1 May 1861 by the Mayor of Liverpool. There were further delays during construction of the monument due to subsidence. Although it was inaugurated on 16 May 1863 in a ceremony attended by the mayor and Sir William Brown, it was still not complete. Reliefs depicting Wellington’s victories and the charge at the Battle of Waterloo were still to be added and it was finally completed towards the end of 1865. These delays resulted in its being “a very late example of a column-monument for Britain”.

The foundations of the monument are in Runcorn sandstone, the pedestal is in granite, and the column itself is in Darley Dale sandstone. The overall height of the monument is 132 feet (40.2 m), the column being 81 feet (24.7 m) tall and the statue 25 feet (7.6 m) tall. It stands on a stepped base with a square pedestal. On each side of the pedestal is a bronze plaque; at the corners are bronze eagles joined by swags along the sides. Standing on the pedestal is a Roman Doric fluted column. Within the column are 169 steps leading up to a viewing platform. On top of the column is a cylinder surmounted by a cupola on which the bronze statue of the Duke stands. The statue is made from the melted-down bronze from cannons captured at the Battle of Waterloo. The Duke holds a scroll in his right hand, and his left hand rests on the hilt of his sword.

The brass plaque on the south of the pedestal is a relief depicting the final charge at the battle of Waterloo. On the east and west faces, the plaques bear the names of the Duke’s victorious battles. The east panel lists the battles of Assaye, Talavera, Argaum, Busaco, Roliça, Fuentes de Oñoro, Vimeiro, Ciudad Rodrigo, Oporto, and Badajoz; the west panel Salamanca, Bayonne, Vittoria, Orthez, San Sebastián, Toulouse, Nivelle, Quatre Bras, and Waterloo. Also on and around the base of the monument are pre-metric standard Board of Trade measurements of length, the shorter ones being embossed on a bronze panel. Set into the pavement is a brass strip containing the measure of 100 feet (30.5 m), and a chain of 100 links.

Object description
Type: Sculpture
Location: Pier Head, Liverpool
Material: Bronze
Artist: George Anderson Lawson (1832-1904)
Date: c. 1863

Image Details
Date: 26 March 2022
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 300mm
Aperture: ƒ/5.6
Shutter Speed: 1/1,000s
ISO: 200
Licence: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia:

The Glenfinnan Monument is a Category A listed monument in Glenfinnan, Lochaber, erected in 1814 and dedicated to the Scottish Highlanders who fought in the Jacobite Army during the Jacobite rising of 1745.
By 1814, Jacobitism was no longer a political threat to the House of Hanover. Alexander Macdonald, a member of Clan Macdonald of Clanranald, ordered the construction of the tower to commemorate the Highlanders who fought on the side of Charles Edward Stuart during the rebellion. Alexander’s father had hosted Stuart for a night in 1745 on his travels. The tower, which is 59 ft (18 m) in height, was designed by Scottish architect James Gillespie Graham.

The monument’s location at Glenfinnan was made possible by a new road (now the A830), built by Thomas Telford and opened in 1812, between Fort William and Arisaig. The tower’s construction was funded partially by the wealth accrued from slave plantations in Jamaica owned by Macdonald’s father, also named Alexander. A statue of an unknown Highlander designed by John Greenshields, referred to at the point of commission as Stuart himself, was added in 1835.

Since 1938, the monument has been in the care of the National Trust for Scotland. The Trust has constructed a visitor centre, providing tickets, information, exhibitions, a shop, a café and toilets. In 2021, the Trust replaced a portrait of Stuart in the visitor centre with a display which detailed the links between the monument and slavery along with information on the ownership of slaves by Highland elites.

Image Details
Date: 10 September 2020
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 280mm
Aperture: ƒ/5.3
Shutter Speed: 1/500s
ISO: 640
Licensing: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International

From Wikipedia:

The Commando Memorial is a Category A listed monument in Lochaber, Scotland, dedicated to the men of the original British Commando Forces raised during World War II. Situated around a mile from Spean Bridge, it overlooks the training areas of the Commando Training Depot established in 1942 at Achnacarry Castle. Unveiled in 1952 by the Queen Mother, it is one of Scotland’s best-known monuments, both as a war memorial and as a tourist attraction offering views of Ben Nevis and Aonach Mòr.

Object description
Type: Sculpture, monument
Location: Lochaber, Scotland
Material: Bronze
Artist: Scott Sutherland (1910-1984)
Date: 1952

Image Details
Date: 6 September 2020
Camera body: Nikon D50
Lens: Tamron 70.0-300.0 mm f/4.0-5.6
Focal Length: 300mm
Aperture: ƒ/5.6
Shutter Speed: 1/500s
ISO: 560
Licensing: Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International