There seems to be a fascination with standing stone circles these days. They are prevalent in the story-lines of numerous popular books, and currently feature prominently on television and cable shows as well. However, unlike the infamous Craigh na Dun of fiction… Callanish is real. Larger than life, and utterly breath-taking amidst the beautiful landscape which surrounds it.
Callanish (Gaelic: Calanais) is located on the Isle of Lewis in the Outer Hebrides, off the west coast of Scotland. It was built from the gneiss rock found in various locations throughout the isle. Said to have been erected as long as 5,000 years ago, this makes Callanish older than Stonehenge on England’s Salisbury Plains.
Roughly placed in a cruciform configuration, there is a smaller circle of stones within its center. A burial chamber discovered there gives indication of ritual use. Callanish sits on a small ridge above Loch Roag. While the rolling Hills of Bernera provide a serene and colourful backdrop to the grey shading, and dark shadows of the towering monoliths.
These massive ancient stone structures are cracked with age, covered with moss, and scoured by wind and weather. They make for a stark contrast against the backdrop of an otherwise bare sky. The overall scene is striking in its portrayal. While the barrenness of rock and sky belie a lush and green landscape below. The deep mystery implicit among the stones of Callanish beckon and intrigue. They pull you in ever closer until the breath of the stones themselves seem to whisper across your mind.
This is what drew me to Callanish. The landscape, the monoliths themselves and the mystery surrounding, were a quilt just waiting to happen.
The challenge – to try and portray a sense of the magnificence and aura these stones inspire. Silent sentinels: towering and hovering above the land… witnesses to centuries of history and island life.
In order to translate the landscape and stones into a fabric rendition, it was important to know and understand this history and background. How else can you attempt to get their essence across to the viewer? To make a successful quilt you have to ‘feel’ what you are doing.
It is believed Callanish was originally some form of astronomical observatory, erected by the ancient peoples living there. A means to track the moon rising low over the horizon; marking not only time, but season as well. It also served local ritual practices.
Later, legends sprang up that the stones were in fact petrified giants… men who refused to convert to Christianity at a time when the native religion was ebbing away, amidst the oncoming tide of a new order.
However way you want to view Callanish, its majesty and magnificence cannot be called into question.
The design needs to be kept simple, so as not to distract from the stones, which are the main focal point. The landscape consists of Loch Roag, with the Bernera Hills in the background, and then a straight forward presentation of field and meadow. Along with the stones, the sky also features prominently, for this is what feeds the impression of towering height.
The stones themselves were made from grey shaded fabrics in a multitude of patterns. Each monolith was done as a single unit, and placed over layers of batting prior to being stitched. This provides for a more ’rounded’ looking aspect. Allowing them to tower above the landscape in a 3-dimensional way. It gives added emphasis and perspective with regard to their immense size.
When quilted, they were further defined by satin-stitching, using a variety of both matching and contrasting threads. Thus providing for even more distinctiveness. Silver metallic thread outlines each stone s0 they shine and gleam in the light. Giving greater significance to the stones preeminence over the landscape.
Taken all together, the stones of Callanish towering across the backdrop of an empty sky, give a sense of great height. They completely dominate. Casting long shadows across surrounding fields and meadows, according to the position of sun… and moon.
They are of the heavens, even as they are firmly planted on the earth.
In the lower background you can see the waters of Loch Roag, and the undulations of the Hills of Bernera. There is a retaining wall of boulders drawn from the local fields. This makes for a pleasing transition between loch and hill. It gives differentiation to the background, without drawing attention away from stones themselves. Thus allowing a better sense of perception to their overwhelming size.
Callanish is very much a part of the land itself. The topography of which, though low-lying, is anything but flat. It rises and falls in waves across the area. The surrounding fields and grassy patches contain a character all their own.
Landscape-themed fabrics of course, makes this much easier for a quilter to portray. As you can see from the photos below…
A closer view shows the advantage of fabrics already ‘landscaped’. Also, how stitching can emphasize the different sections of field and grass. This allows for variety, and gives depth to what would otherwise be merely flat-looking ground.
The stitching lines going round and round are known as ‘echo quilting’. It helps gives character and emphasis to the shapes involved. Additional patterns of stitching mark different areas of field and meadow. This is called ‘free-form’ quilting. Needless to say all this sewing was done by machine. With so many layers of fabric, it’s just not possible -or practical- to do by hand.
And because we needed a little colour here for contrast. Floral fabric was cut and appliqued onto the quilt. These little puffs were then stuffed with poly-fill, using a technique known as broderie perse. It too adds a 3-dimensional effect. The more variety in small, simple ways – the better. Offering a sweet a feast for the eye to gaze upon.
The color of the flowers breaks up the starkness of stone and bare sky; warming the landscape which is rich in detail and greenery.
The quilt is now done, ready to frame. The borders of which will have t0 blend in, even as they remain separate.
The first border is a rock-like fabric. This picks up on the standing stones in both theme and shades of grey colour.
The second border is a green granite-like fabric. It serves to tone down the pattern of the previous border, yet remains in keeping with the stone-based theme.
The finishing touch is the outer border used to bind the quilt. It is the Ancient Hunting Tartan of Clan MacDonald.
For hundreds of years the MacDonalds were known as The Lords of the Isles, claiming these lands as their own. However in 1493 James IV of Scotland, tired of feuding clans, annexed these isles on behalf of the crown.
The Stones of Callanish were conceived and erected by ancient people for purposes that remain clouded in time. We can only guess at their true motivation and intent.
Centuries later a new religion would take hold of the land. The old ways would fade away to misted memories.
At the top left corner, a Celtic cross embroidered in gold thread, acknowledges this.
People, society and cultures, come and go across aeons of time. Yet the Stones of Callanish have remained. They are a little weathered and showing their age. But for all that, their grandeur and magnificence shines through – strong and clear. A testament to endurance… their aura and mystery continuing to breathe in the fresh sea air… along with the scent of bog and peat. And so it has been for thousands of years.
Silent sentinals still, towering and watching over all….
2 thoughts on “Callanish: the Stones Breathe”
This is beautiful, Bev—both the words & the quilting. I love it!
Thank you Barb – coming from an accomplished nature photographer such as yourself… this mean a lot!!
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