Sarcophagus in 1907: A Nostalgia

St Constantine’s Sarcophagus

One of the significant stones is St Constantine’s Sarcophagus. The early Govan church was dedicated to St Constantine and was founded with royal patronage around 9th century and possibly early (Ritchie, 1999). Another discussion worth stressing is who St Constantine is. Although there are many explanations about St Constantine, it is hard to identify which person was the owner of this sarcophagus – a common name used in late eighth century, the migration of groups of Strathclyde aristocrats, the translation of saints’ relics – there were many persons called Constantine during this period and even putting together a history of the Scottish church at this time is difficult as well (Alan, 1997). However, no matter a King or a monk, the one thing could be said is he was an important historic figure in Govan’s history, representing the power, divinity, extraordinariness, and the Sarcophagus, even the church were dedicated to him – St Constantine’s Sarcophagus can be seen as one of the most representative stones in Govan.

Govan Old and the Govan’s Community

Indeed, the development of Govan Old was closely bound up with the development in Govan which largely influenced the Govan Community. Historically, Govan Old had been the center of worship and social activity throughout the past several centuries in Govan – the Brittonic Kingdom, the Kingdom of Strathclyde, etc. -even during the heyday of the industrial period in Glasgow. Back in 1840‘s, Govan was at one point the center of the world-renowned Clydeside shipbuilding industry (William Beardmore, 2000), and it can be imagined that thousands of workers working in factories, ships waiting to enter the port, people flooding into Govan Old and gathering in the navel singing the choir – a scene of prosperity. In 1876, the ministry of Govan believed that the new church was to be a noble sanctuary to transcend the industrial ugliness of the Govan’s bustling shipyards, providing daily services (McKinstry, 2000), and the last extension was completed in 1908. At that time, Govan Old was favored by the economic prosperity in Govan. After World War 2, Govan shipbuilding faced a huge decline and was unable to compete with the new power around the world (Brocklehurst, 2013). Accompanying the demolishment of shipbuilders and shipyards, Govan Old experienced the decrease of numbers of congregation and was united by Church of Scotland with Linthouse to make it redundant. However, it still stopped providing regular Sunday services in 2007. Now, the function of Govan Old is a museum, more than a sacred place, displaying Govan Stones and it only opens for six months.

However, when it comes to the residents in Govan, the senior generation still remember when they were kids used to stand at the doors of the shipyards and thousands of men coming out at once, stand on the graves and pretend the rumble of the subway was a ghost, dig the holes in churchyard to understand the boundary (Govan Cross Townscape Heritage Initiative, 2014). In addition, Govan Old was surrounded by shipbuilders and shipyards in 1932. The memory of Govan Church and even the past glories in Govan throughout history is deeply rooted in residents’ lives and could be the identity of people in the Govan’s Community. According to Karin Dannehl, most of the artifacts could enjoy a mode of life cycle – a biography (Dannehl, 2018). For St Constantine’s Sarcophagus, the exact life experience might be difficult to trace back, however, it could be seen that it has experienced at least from carving-producing, being transported, anointing, dedicating, worshiping, burying, unearthing and finally settling in church through early medieval period to nowadays. In this case, Govan, Govan Old and the Govan Community have shared an identical life trajectory in history, one biography of them can reflect the other two. Therefore, the project team attempted to construct an interpretative biography of St Constantine’s Sarcophagus to reflect the fates in Govan Church and even the Community.

Reconstruction of 1907 in Churchyard: A Nostalgia

The horizontal crack is the most remarkable feature of the Sarcophagus. In this part, the animation of digital reconstruction tells another ambiguity - where and how the crack might have caused and how the Sarcophagus would have looked like before being removed into church. Another aim for this digital reconstruction is showing an interpretative nostalgic scene which could be a reminder not only of Govan Church’s worship past but also of Govan’s industrial past, as I indicated above. Because nostalgia could be used as a strategy for heritage displaying to span the gap between the old generation and the new who never experience the past (Mortensen & Madsen, 2015). Hence, the crack is the starting point, but the nostalgic Govan is the purpose. This digital reconstruction was created based on a 19th-century drawing and some photos captured in 1900’s. The former one provided the fundamental image of it and the latter one showed other stones that were in churchyard at the same time. The research method for this reconstruction is the material culture approach, putting the artifact in its historical context, thinking about what shaped this object, by the weather or/and human action, may left traces, and connecting with the landscape and considering the soundscape (Harvey, 2009). The Sarcophagus was discovered by a sexton in 1855 and it lay a couple of feet below the surface perhaps to protect the monument during the Scottish Reformation Iconoclasm practice. After being unearthed, it was moved to the south-east of the kirkyard and enclosed by wooden railings, which caused significant damage especially to the two long side-panels containing the richest figures (Spearman, 1994). It is difficult to calculate how many days it was in the churchyard, but then the outhouse became damp and dilapidated, therefore there was much concern about the condition of the ancient stone. In 1908, when the extension was completed, the Sarcophagus was removed into the Chancel that had just been built. Following this, reconstructing a rainy and cloudy environment would underline the reason for the crack and emphasis the weather conditions, enhancing the nostalgic feeling.

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The design process of this digital reconstruction was, finding historical evidence, identifying the level of certainty using the Colorscrip of the reliability (Pietroni & Ferdani, 2021), illustrating a draft layout in Photoshop which gave the designer a basic sense of the final artistic tone, acquiring data in Govan, processing data, reconstructing the churchyard, synthesizing the sound effect, and finally importing the final animation.

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When it comes to the soundscape, which was composed of the sound of raining, church choir, stem-whistle from shipyard, and bell ringing. There were congregations singing choirs, shipbuilders and shipyards, there was a church. These were the soundtracks of Govan Old which concentrated many Govan residents’ life span from birth, education, work, wedding even to death in Govan, highlighting the peak moments – music and sound interact with lives and associate with memories (Garrido & Davidson, 2019). Although now all has gone, digital reconstruction could recall it.