Aedh af Skotland
| Aedh | |
|---|---|
 Maleri af Aedh fra 1600-tallet | |
| Konge af Skotland | |
| Regerede | 877–878 |
| Ægtefælle | Ukendt navn |
| Børn | Konstantin, Donald |
| Født | Ca. 840 |
| Død | 878 |
Aedh (også Aed eller Aodh) (født ca. 840, død 878 i Strathallan) var konge af Skotland fra 877 til sin død året efter.
Han efterfulgte sin bror Konstantin. Kort tid efter at han kom til magten, blev han dræbt af Giric, som havde konspireret med Aedhs nevø Eochaid. De efterfulgte ham i et samkongedømme.
Kun lidt er kendt om ham. Det er usikkert, om det var ham Konstantin udnævnte til tronfølger. Han var gift, men hans kones navn, og hvornår de giftede sig, er ikke kendt. Hans søn Konstantin blev senere konge af Skotland, og en yngre søn, Donald, blev konge af Strathclyde i 908.
Efter at han blev dræbt, er det muligt, at han blev begravet i Maiden Stone i Aberdeenshire.
| Foregående: | Konge af Skotland | Efterfølgende: |
| Konstantin I | Eochaid og Giric |
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Medier brugt på denne side
Áed, king of Scots.jpg
This portrait of Ethus 'Alipes', is depicted within a painted oval, in profile, facing the right, wearing a brown jacket with an ermine collar and a hat. This portrait is one of ninety-three bust-lengths commissioned to decorate the Great Gallery at Holyroodhouse, Edinburgh. It is painted by Jacob de Wet II, a Dutch artist working in Scotland from 1673. Together with eighteen full-lengths these portraits illustrate the genealogy of the royal house of Scotland from Fergus I (who ascended the throne in 330 BC) to James VII (who abdicated in 1689). De Wet’s iconographic scheme was based on well-known chronicles of Scottish history by the Renaissance humanists Hector Boece (Scotorum Historiae, 1527) and George Buchanan (Rerum Scoticarum Historia, 1582). The inscriptions on the paintings correspond with Buchanan’s list of Scottish kings: from left to right, these are the number and name of the king followed by the date of accession. The dates however are considerably muddled, by a later restorer or perhaps even the artist himself. Both real and legendary, their purpose was to proclaim the authority of the Stuarts as divinely appointed rulers of Scotland. Commissioned and paid for by the Scottish Privy Council, the series was intended to convey the power and greatness of the country’s governing body as much as that of their king. With no authentic likenesses on which to base his portraits of medieval kings, de Wet made extensive use of an earlier set by the Scottish artist George Jamesone, of which twenty-six survive in private collections. From this limited basis the resulting series appears rather repetitious. Much more important than their aesthetic merit therefore was the symbolic power of painting an extremely long royal lineage stretching more than two millennia. Buchanan, Rerum Scoticarum Historia (translation from 1751): ‘the Son of Constantine II, succeeded to his Father … A vitious Prince. He was imprisoned by his Nobles, where he died’. Number 72 in the series. Inscribed ETHVS COGNOMENTO ALIPES. 874.
This portrait of Ethus 'Alipes', is depicted within a painted oval, in profile, facing the right, wearing a brown jacket with an ermine collar and a hat. This portrait is one of ninety-three bust-lengths commissioned to decorate the Great Gallery at Holyroodhouse, Edinburgh. It is painted by Jacob de Wet II, a Dutch artist working in Scotland from 1673. Together with eighteen full-lengths these portraits illustrate the genealogy of the royal house of Scotland from Fergus I (who ascended the throne in 330 BC) to James VII (who abdicated in 1689). De Wet’s iconographic scheme was based on well-known chronicles of Scottish history by the Renaissance humanists Hector Boece (Scotorum Historiae, 1527) and George Buchanan (Rerum Scoticarum Historia, 1582). The inscriptions on the paintings correspond with Buchanan’s list of Scottish kings: from left to right, these are the number and name of the king followed by the date of accession. The dates however are considerably muddled, by a later restorer or perhaps even the artist himself. Both real and legendary, their purpose was to proclaim the authority of the Stuarts as divinely appointed rulers of Scotland. Commissioned and paid for by the Scottish Privy Council, the series was intended to convey the power and greatness of the country’s governing body as much as that of their king. With no authentic likenesses on which to base his portraits of medieval kings, de Wet made extensive use of an earlier set by the Scottish artist George Jamesone, of which twenty-six survive in private collections. From this limited basis the resulting series appears rather repetitious. Much more important than their aesthetic merit therefore was the symbolic power of painting an extremely long royal lineage stretching more than two millennia. Buchanan, Rerum Scoticarum Historia (translation from 1751): ‘the Son of Constantine II, succeeded to his Father … A vitious Prince. He was imprisoned by his Nobles, where he died’. Number 72 in the series. Inscribed ETHVS COGNOMENTO ALIPES. 874.
Provenance
Commissioned by the Scottish Privy Council in the name of Charles II.