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Autumn 11 - The Clan Cameron Association Scotland.

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<strong>Clan</strong> <strong>Cameron</strong> <strong>Association</strong> Scholarship Arrangements<br />

Introduction<br />

<strong>The</strong> scholarship was initiated by Mr Duncan <strong>Cameron</strong> (<strong>Association</strong><br />

Commissioner) in October 2010. <strong>The</strong> first scholarship will be made<br />

available from October 20<strong>11</strong>.<br />

Purpose<br />

<strong>The</strong> purpose of the scholarship is to enable an eligible student to purchase<br />

a book or other material appropriate to the course of study.<br />

Eligibility<br />

In order to be deemed eligible for application the applicant should<br />

hold a current individual and /or family membership of the<br />

<strong>Clan</strong> <strong>Cameron</strong> <strong>Association</strong>-UK<br />

be aged 16-25 years<br />

be a registered student upon a course of further or higher<br />

study or have secured a place upon this<br />

Application<br />

Application should be made before the 5 th of September each year in<br />

writing or by email to the Commissioner of the <strong>Clan</strong> <strong>Association</strong><br />

(current contact details are located on the clan web site:<br />

info@clancameron.org.uk )<br />

<strong>The</strong> Application should provide the following<br />

your name and contact details<br />

your programme of study for which support is sought<br />

the name of the education institution at which you are studying<br />

or where you have obtained a place to study<br />

details of the support requested and costs<br />

a statement of no more than 400 words which outlines how<br />

you would use the scholarship if awarded and the benefit you<br />

would gain from this<br />

Selection Criteria<br />

<strong>The</strong> following will be used as criteria in considering applications.<br />

Confirmation that the applicant meets the eligibility requirements –<br />

see above.<br />

<strong>The</strong>re is a clear rational for the application which demonstrates how<br />

Page 8<br />

When Her Majesty the Queen visited Fort William in 1991, a year after its<br />

tercentenary, she called in to the West Highland Museum and was shown the<br />

Jacobite collection by the then curator, Fiona Marwick. Guiding the Queen<br />

round the show cased objects that are said to have a strong connection with<br />

the Prince. Her Majesty was intrigued! When Fiona told her "This, Ma'am is<br />

a lock of Bonnie Prince Charlie's hair, and that is a piece of the tartan that he<br />

wore at Culloden". <strong>The</strong> Queen responded to the curator with a very perceptive<br />

and unusually humorous take on what she had just been told, saying -<br />

"My dear, if all the locks of Bonnie Prince Charlie's hair and every piece of<br />

his tartan that I have been shown on my travels were authentic, then the<br />

Prince would have been bald and<br />

bare by the time he was exiled in<br />

France".<br />

Amongst the many exhibits in the<br />

Jacobite Collection, by far the<br />

most unusual and intriguing is <strong>The</strong><br />

Secret Portrait of Bonnie Prince<br />

Charlie. Found in a London<br />

market stall in the early 1920s by<br />

the Museum founder, Victor<br />

Hodgson, <strong>The</strong> Secret Portrait is<br />

made up of two parts. One<br />

consists of a 30cm square wooden panel, upon which crescent moon-like<br />

daubings of coloured paint circulate round its centre, giving the first-glance<br />

appearance of a well used artist's palette.<br />

And herein lies the secret, for when the second part of the unique portrait is<br />

added - everything becomes clear. A 20 cm high wooden column with a<br />

central element of polished metal reveals the apparent distortion below on its<br />

surface, showing the handsome image of Bonnie Prince Charlie.<br />

<strong>The</strong> artist and date of the portrait remain a mystery. However, this<br />

anamorphic style of painting has been used by a number of well-known<br />

artists, most notably in Hans Holbein's '<strong>The</strong> Ambassadors', in which he<br />

Page 25

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