The Modern Antiquarian

Product Information

Julian Cope at Silbury Hill, Wiltshire by Cat Stevens. All other photographs courtesy of Adelle Stripe

His voice was rich, velvety and ever so slightly posh; Cope was unlike anyone I had ever seen or heard before. In the grim meat-and-potatoes land of late-90s fashion, he looked like he had landed from outer space. And not in a contrived way either, though truth be told he did look like a bit of a berk. What he said that night connected with me on a superficial level. Why would we travel halfway around the world to visit the Nazca Lines or Chichén Itzá, when there were equal treasures on our doorstep, he asked. Easy for you to say that, I thought to myself, when I could barely afford the bus fare into town that night, never mind a trip to the Isle of Lewis to look at some old stones. However, my interest was piqued, as I had recently devoured a copy of Head-On and thought perhaps there was something of interest in what the Arch Drude had to say. According to Cope, Avebury, in the Marlborough Downs, was as culturally significant as The Stooges, which gave me cause to investigate his claims further, and even now, 22 years later, I am still chipping away at this idea. I felt that a British overview could get open-minded travellers out there to the monuments themselves - an ideal way to move the study up one further notch, getting some kind of dialogue going that will allow us all to see the context of our ancient past. This book shines a powerful light onto the past of a nation hoodwinked into believing that its history began with the Roman conquest. Cope’s deft prose examines our prehistoric beginnings through the evidence of megalithic remains and their surroundings, allowing us for the first time to reconcile the tapestry of our past with modern life.Cope is also a recognised authority on Neolithic culture, an outspoken political and cultural activist, and a fierce critic of contemporary Western society (with a noted and public interest in occultism, paganism and Goddess worship).

This, another of Wales' 'White Cairns', is almost completely subsumed within seemingly impenetrable forestry covering a minor hilltop to the west of Pumlumon. So much so that The Citizen Cairn admits to having a pretty hard time locating it, despite the monument apparently being some 50ft across. However, all's well that ends well, as they say. If not exactly 'all-white'. within that transformed the assumed banality of the English landscape into something magical and eternally compelling. Julian Cope is one of Britain’s best known and most-celebrated post-punk visionaries. In this historical masterpiece, he takes us on an unforgettable journey across the British Isles, uncovering the first temples ever built and their myriad descendants, the relics of which can still be seen today. Unzip this archive and open the 'TheModernAntiquarian-20231125.kml' file with the Google Earth application. My all-time favourite prehistoric artefact’: the silver Gundestrup cauldron, uncovered in 1891 in Denmark. Photograph: British MuseumHere at the museum is the greatest Celtic find of all: the legendary Gundestrup cauldron. It’s my all-time favourite prehistoric artefact: huge, silver, magnificent. Wonderful castings of Norse gods, men, animals and mythological beasts festoon its sides, while a recumbent bull guards its basin. The cauldron is striking for its characters and stories (most Celtic art is non-figurative) but I long ago decided it was pointless trying to itemise these snake-gripping figures, as the Celts had so many local pantheons. Cope’s innovative gazetteer opened up the landscape to a whole new generation of walkers, psychonauts and amateur historians. Unlike many archaeological accounts, there is no concrete conclusion, as it is a work that explores suggestion, albeit with a frequently esoteric angle. Ah me, what Stukeley started! For this Lincolnshire rector was the most successful antiquary of the mid-1700s. His books – grandly illustrated publications every one – were lapped up by the population. To watch the migration of Stukeley’s thoughts from 1723’s overly Romanised Itinerarium Curiosum – via Stonehenge and Abury – to his posthumous (and entirely megalithically revisioned) Itinerarium of 1776 is to view at first-hand the manner in which the Celts have seduced the romantic imagination. The Painted Youths of Cothiemuir Wood Bring Gifts and a Special Feast to the Builders of their New Stone Circle Julian Cope studies William Stukeley’s book at the Celts exhibition. Photograph: Linda Nylind/The Guardian