Gardens are one of the most important elements in the cultural history of Scotland. Like any art form, they provide an insight into social, political and economic fashions, they intimately reflect the personalities and ideals of the individuals who created them, and they capture the changing fortunes of successive generations of monarchs and noblemen. Yet they remain fragile features of the landscape, easily changed, abandoned or destroyed, leaving little or no trace.In Scotland's Lost Gardens, author Marilyn Brown rediscovers the fascinating stories of the nation's vanished historic gardens. Drawing on varied, rare and newly available archive material, including the cartography of Timothy Pont, a spy map of Holyrood drawn for Henry VIII during the 'Rough Wooing', medieval charters, renaissance poetry, the Accounts of the Lord High Treasurer, and modern aerial photography, a remarkable picture emerges of centuries of lost landscapes.Starting with the monastic gardens of St Columba on the Isle of Iona in the sixth century, and encompassing the pleasure parks of James IV and James V, the royal and noble refuges of Mary Queen of Scots, and the 'King's Knot', the garden masterpiece which lies below Stirling Castle, the history of lost gardens is inextricably linked to the wider history of the nation, from the spread of Christianity to the Reformation and the Union of the Crowns.The product of over 30 years of research, Scotland's Lost Gardens demonstrates how our cultural heritage sits within a wider European movement of shared artistic values and literary influences. Providing a unique perspective on this common past, it is also a fascinating guide to Scotland's disappeared landscapes and sanctuaries - lost gardens laid out many hundreds of years ago 'for the honourable delight of body and soul'.

This pioneering study tells the story of the emergence of rural workers' gardens during a period of unprecedented economic and social change in the most dynamic and prosperous region of Scotland. Much criticised as weed-infested, badly cultivated and disfigured by the dung heap before the cottage door, eighteenth-century cottage gardens produced only the most basic food crops. But the paradox is that Scottish professional gardeners at this time were highly prized and sought after all over the world. And by the eve of the First World War Scottish cottage gardeners were raising flowers, fruit and a wide range of vegetables, and celebrating their successes at innumerable flower shows. This book delves into the lives of farm servants, labourers, weavers, miners and other workers living in the countryside, to discover not only what vegetables, fruit and flowers they grew, and how they did it, but also how poverty, insecurity and long and arduous working days shaped their gardens. Workers' cottage gardens were also expected to comply with the needs of landowners, farmers and employers and with their expectations of the industrious cottager. But not all the gardens were muddy cabbage and potato patches and not all the gardeners were ignorant or unenthusiastic. The book also tells the stories of the keen gardeners who revelled in their pretty plots, raised prize exhibits for village shows and, in a few cases, found gardening to be a stepping-stone to scientific exploration.

Emblems in the visual arts use motifs which have meanings, and in Emblems in Scotland Michael Bath, leading authority on Renaissance emblem books, shows how such symbolic motifs address major historical issues of Anglo-Scottish relations, the Reformation of the Church and the Union of the Crowns. Emblems are enigmas, and successive chapters ask for instance: Why does a late-medieval rood-screen show a jester at the Crucifixion? Why did Elizabeth I send Mary Queen of Scots tapestries showing the power of women to build a feminist City of God? Why did a presbyterian minister of Stirling decorate his manse with hieroglyphics? And why in the twentieth-century did Ian Hamilton Finlay publish a collection of Heroic Emblems?

What she hadn't bargained for was meeting the irresistible Jimmy Walsh, who falls for flame-haired Aileen the moment he sets eyes on her. Spending each day working together side by side, Aileen and Jimmy fall passionately in love, until their happiness is cruelly cut short by a tragic accident which will change their young lives forever. Back on Illaunmor, Aileen finds solace in reviving an abandoned garden, which has been left as lonely and bereft as she has. Gradually, through the magic of hope, Aileen brings the garden back to life - and herself with it. The Lost Garden is a mesmerizing story about loss, friendship and the power of true love.