Giric af Skotland
| Giric | |
|---|---|
 Giric af Skotland portrætteret i 1600-tallet | |
| Konge af Skotland | |
| Regerede | 877/878–889 |
| Død | 889? |
Giric var konge af Skotland fra 877 eller 878 til 889 sammen med Eochaid.
Kilderne er meget uklare, men det ser ud til, at Giric støttede Eochaids kamp om tronen og blev medkonge, da Eochaid tog magten fra sin onkel Aedh. Giric var sandsynligvis Aedhs fætter.
Han blev styrtet af Donald II, som også forviste Eochaid. Giric blev med stor sandsynlighed myrdet i 889.
| Foregående: | Konge af Skotland | Efterfølgende: |
| Aedh | Donald II |
| ||||||||||||||
Medier brugt på denne side
Gregorius the Great or Giric of Scotland.jpg
The painting is depicted within a painted oval, facing the front, wearing armour, with a jewelled sash across his right shoulder. 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): ‘surnamed the Great, Son of Dongallus II … A Prince valiant, victorious, and renowned through the World in his Time. He died in Peace’. Number 73 in the series. Inscribed GREGORIVS.MAGNVS. 876.
The painting is depicted within a painted oval, facing the front, wearing armour, with a jewelled sash across his right shoulder. 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): ‘surnamed the Great, Son of Dongallus II … A Prince valiant, victorious, and renowned through the World in his Time. He died in Peace’. Number 73 in the series. Inscribed GREGORIVS.MAGNVS. 876.
Provenance
Commissioned by the Scottish Privy Council in the name of Charles II.