Ancestral Chains (DNA Part VI of VIII) Meers Bloodline - Bishop, Mark D
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Refugees have been part & parcel of the social history & landscape of the British Isles since time immemorial. They have come in waves and they have arrived in droves. They have melted into the DNA pot, enhancing and enriching all aspects of society. Growing up in the Thames Valley, the author would often hear the Italian name Gagette, one or several refugees who arrived on these shores as a result of the French Revolution. One Gagette descendant married into the Meers family of Dickensian Bethnal Green; and they were poor by the standards of some of his other ancestors. It was when Eliza…mehr

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Produktbeschreibung
Refugees have been part & parcel of the social history & landscape of the British Isles since time immemorial. They have come in waves and they have arrived in droves. They have melted into the DNA pot, enhancing and enriching all aspects of society. Growing up in the Thames Valley, the author would often hear the Italian name Gagette, one or several refugees who arrived on these shores as a result of the French Revolution. One Gagette descendant married into the Meers family of Dickensian Bethnal Green; and they were poor by the standards of some of his other ancestors. It was when Eliza Priscilla Meers married a hard working and enthusiastic young man who was to work as an engineer in Gibraltar and later as the Thames Conservancy Engineer for the area between Teddington and Windsor, that fortunes changed for the better. But in ancestral research, change is never far away it seems and tragedy can be found just around the next bend of Old Father Thames. For, like that river, life has its currents and eddies.
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Autorenporträt
This, the third and most involved work by the author on the growing research into Stone Age portable rock art, is a must read for all interested parties. Beginning with handaxes crafted by the earliest inhabitants of the British Isles, one million years ago, it details that they carved, pecked and knapped these artefacts as art. Handaxes of all types, shapes and forms were not so much meant for use as weapons, but more as tools and ceremonial objects, having dual ritualistic and practical functions. Passed down as ancestral heirlooms, they became enthused with 'mana' and were often placed as offerings in streams, or at tomb and grave sites, or by sacred groves. Until now, the designs seen of these artefacts have not generally been recognised as art. The main theme of this work therefore is to introduce these artforms in detail to the world of archaeology and the public alike. Intangible, ritualistic meanings they once held, yet tangible stone art they remain, preserved as monuments to the skill and cognitive abilities of our most distant ancestors.