Alfred et al.

2005 ◽  
Author(s):  
David A. Hinton
Keyword(s):  
Fixed Point ◽  
Precious Metal ◽  
Ninth Century ◽  
Eighth Century ◽  
Perceived Similarity ◽  
Criterion A ◽  
John The Baptist

A distinguishing feature of the ninth century is the amount of precious metal that has survived from it. Some of this comes from hoards, for in contrast to the eighth century there are several with both coins and objects, as well as some only with coins and some only with objects. The latest coin in a hoard provides no more than the earliest possible date at which it could have been deposited, but at least that is a fixed point in one direction, and its owner was unlikely to keep a store of coins for long without occasionally taking some out or putting others in. Objects in hoards, of course, may always include some treasured heirlooms, as may furnished graves, but at least perceived similarity to works in other media is not their only dating criterion. A few objects can be dated because they have an identifiable name on them. A gold and niello ring inscribed Ethelwulf R[e]x at the bottom of the bezel associates it with King Aethelwulf, ruler of Wessex from 839 to 858 (Fig. 4.1, right). The ring was not necessarily made for him to wear himself, but for him to give to a follower as a permanent reminder of the service owed to its donor, though a Beowulf seeking a ‘generous ring-giver’ might not have thought its inscription sufficient compensation for its modest weight. Alternatively, it could have acted like a seal, to accompany a royal messenger and validate that his news or instructions came from the king; or have been used as a guarantee of a land donation and a physical reminder of the event at which the grant had been made. That might have been the reason why the name of Queen Aethelswith was added to the back of another gold ring, thus associating it with Aethelwulf’s daughter, who was queen of Mercia from 853 to 874 (Fig. 4.1, left). The inscription may have been an afterthought, needed when the ring was used for an unanticipated purpose. A third explanation is that both rings were baptismal; above Aethelwulf’s name are two birds at the Fountain of Life, and the bezel of Aethelswith’s ring has the Lamb of St John the Baptist.

scholarly journals BUILDING HIGH-PRECISION AMS 14C BAYESIAN MODELS FOR THE FORMATION OF PERI-ABANDONMENT DEPOSITS AT BAKING POT, BELIZE

Radiocarbon ◽  
2021 ◽  
pp. 1-26
Author(s):  
Julie A Hoggarth ◽  
Brendan J Culleton ◽  
Jaime J Awe ◽  
Christophe Helmke ◽  
Sydney Lonaker ◽  
...  
Keyword(s):  
Bayesian Models ◽  
Ninth Century ◽  
Eighth Century ◽  
Classic Maya ◽  
Faunal Remains ◽  
Maya Lowlands ◽  
Human Skeletal Remains ◽  
Late Ninth Century ◽  
Baking Pot ◽  
Group B

ABSTRACT Deposits linked to abandonment have been widely recorded across the Maya lowlands, associated with the final activities occurring in ceremonial areas of Classic Maya centers. Various models have been applied to explain the activities that lie behind the formation of these contexts, including those linked to rapid abandonment (e.g., warfare) and others focused on more protracted events (termination rituals, and/or pilgrimages). Here, we assess Bayesian models for three chronological scenarios of varying tempo to explain the formation of peri-abandonment deposits at Baking Pot, Belize. Using stratigraphic information from these deposits, hieroglyphic dates recovered on artifacts, and direct dates on human skeletal remains and faunal remains from distinct layers in three deposits in Group B at Baking Pot, we identify multiple depositional events that spanned the eighth to ninth centuries AD. These results suggest that the processes associated with the breakdown of institutionalized rulership and its command of labor to construct and maintain ceremonial spaces were protracted at Baking Pot, with evidence for the final depositional activity dated to the mid-to-late ninth century. This interval of deposition was temporally distinct from the earlier deposition(s) in the eighth century. Together, these data offer a detailed view of the end of the Classic period at Baking Pot, in which the ceremonial spaces of the site slowly fell into disuse over a period of more than a century.

An Anglo-Saxon mass for St Willibrord and its later liturgical uses

1995 ◽  
Vol 24 ◽  
pp. 1-10
Author(s):  
Nicholas Orchard
Keyword(s):  
Ninth Century ◽  
Eighth Century ◽  
Anglo Saxon ◽  
The Commons

Of all the services held in a saint's honour in the course of his or her feast-day, mass was the most important: and central to the mass were the prayers invoking the saint's intercession said by the celebrant. Together with the canon, these ‘proper’ prayers – by the ninth century normally a collect (collecta), secret (super oblata or secreta), preface (prefatio) and postcommunion (ad complendum or postcommunio) – formed the backbone around which chant and readings were arranged, and they were gathered together in the sacramentary, the book used by the celebrant alone. Further forms might be provided as ‘alternatives’ (aliae orationes); for the conclusion of mass (super populum); and occasionally, for vespers of the day before the feast and of the feast itself (ad vesperas), but generally speaking, these are rare. As ‘informal’ cults became formal, or prize relics came to hand, so the need for new suites of prayers arose. These could be composed afresh, ‘borrowed’ from existing saints' masses (an easy option, necessitating little more than the insertion of the new saint's name in the relevant prayers); or if the precentor's creative powers failed him completely, they could be taken from the ‘commons’, that is, from the series of ready-made masses contained in almost every medieval sacramentary or missal for a ‘confessor’, a ‘martyr’ or a ‘virgin’, and so on. Some houses attracted the services of gifted writers; other seem not to have been so fortunate. It is my intention to analyse here the genesis and dissemination of a mass from a house of the former class which throws interesting light on the liturgical links between England and the Continent in the eighth century.

scholarly journals Edelmetallgegenstände als Quellen zu sozialen Prozessen der Spätawarenzeit (8.–9. Jahrhundert n. Chr.)

2021 ◽  
Vol 72 (2) ◽  
pp. 417-452
Keyword(s):  
Spatial Distribution ◽  
Precious Metal ◽  
Eighth Century ◽  
Carpathian Basin ◽  
Early Medieval ◽  
High Quality ◽  
Cultural Changes ◽  
Archaeological Material ◽  
Metal Artefacts ◽  
The Social

Abstract The present paper analyses the precious metal artefacts, scarcely known in the huge archaeological material of the “late Avar period” (eighth to early ninth centuries AD). Unlike in the previous era the majority of the gold and silver objects of the late Avar period are stray finds; in particular high-quality goldsmith's artefacts are absent in the grave assemblages of the eighth century. The significance of precious metal objects in grave assemblages reached its low ebb around the middle of the late Avar period; afterwards not only new object types appeared but a new grave-horizon emerged comprising precious metal objects. This paper, based on the quality and morphology of the objects, their archaeological contexts as well as their spatial distribution, draws a conclusion concerning the social and cultural changes in the early medieval Carpathian Basin.

Figurative iconography from Corinth, Ithaka and Pithekoussai: Aetos 600 reconsidered

2001 ◽  
Vol 96 ◽  
pp. 195-227 ◽  
Author(s):  
Catherine Morgan
Keyword(s):  
Fixed Point ◽  
Eighth Century ◽  
Near Eastern ◽  
The Third ◽  
Architectural Model ◽  
And Function

This article reappraises the iconography and function of an architectural model or pyxis from Aetos on Ithaka, represented by four sherds originally published by Martin Robertson in BSA 43 (1948), 101–2 as part of the group Aetos 600. Particular comparison is made with the iconography of an imported Ithakan kantharos from tomb 949 in the San Montano cemetery at Pithekoussai. This tomb context, dated to the third quarter of the eighth century, provides a rare fixed point in the chronology of Ithakan painting. In both cases, the mixture of Italian and Near Eastern iconographical traits suggests closer connections with contemporary Italy than the Greek mainland. Further iconographical and functional comparison is made with a figured architectural model from the Monte di Vico acropolis at Pithekoussai.

RECONSTRUCTING THE LATER EIGHTH-CENTURY CLAUSTRUM AT SAN VINCENZO AL VOLTURNO

2012 ◽  
Vol 80 ◽  
pp. 145-155
Author(s):  
Richard Hodges ◽  
Sarah Leppard ◽  
John Mitchell
Keyword(s):  
Ninth Century ◽  
Eighth Century

This article re-examines the topography of the late eighth-century monastery of San Vincenzo al Volturno following a recent far-reaching reinterpretation of the ninth-century phases of the monastery. In particular, it proposes a hypothetical location for the monks' dormitory and a palace beside the river Volturno. As a result, it suggests the outlines of the first claustral plan for the monastery.

The landed endowment of the Anglo-Saxon minster at Hanbury (Worcs.)

2009 ◽  
Vol 38 ◽  
pp. 77-100 ◽  
Author(s):  
Steven Bassett
Keyword(s):  
Ninth Century ◽  
Eighth Century ◽  
First Century ◽  
Anglo Saxon ◽  
History Of

AbstractMany of the minsters founded and generously endowed in the first century and a half of Anglo-Saxon christianity were evidently failing as efficient managers of their estates by the late eighth century, if we judge by the actions of the bishops in whose dioceses they sat. In the diocese of Worcester bishops can be seen transferring the administration of the lands of such minsters to the cathedral community, and then seeking ratification from the Mercian kings whose direct ancestors or royal predecessors had often been involved in the original acts of foundation. When ninth-century kings were acutely short of land, they alleviated the problem by engineering forced loans of the lands concerned from the see of Worcester. These processes are well exemplified in the history of the minster at Hanbury (Worcs.) and its landed endowment, for which particularly good contemporary evidence survives.

Ultán the scribe

1993 ◽  
Vol 22 ◽  
pp. 127-146 ◽  
Author(s):  
Lawrence Nees
Keyword(s):  
Sixteenth Century ◽  
Modern Art ◽  
Ninth Century ◽  
Eighth Century ◽  
Historical Writing ◽  
General Reference ◽  
John Leland

According to Aediluulf's poem De abbatibus, written in the early ninth century, the Irish priest Ultán was ‘a man called by a famous name’ (preclaro nomine dictus), who ‘could ornament books with fair marking’ (comptis qui potuit notis ornare libellos). Active during the first half of the eighth century in Aediluulf's otherwise unknown monastery located most probably in the area of what is today southern Scotland or northern England, Ultán has also won growing renown in modern art-historical writing, on the basis of Aediluulf's text, our only source for his life and work. Several of the older general reference works for artists include his name, Thieme-Becker terming him ‘Kalligraph und Miniator’, Bénézit ‘enlumineur et calligraphe’ and Bradley more cautiously ‘calligrapher’ while repeating the statement of the sixteenth-century antiquary John Leland, that Ultán was scriptor et pictor librorum optimus. In other words, these early sources agree in making Ultán not only a scribe but also a painter or illuminator.

scholarly journals Prilozi proučavanju crkve Svetog Mateja u Splitu

Ars Adriatica ◽  
2011 ◽  
pp. 67
Author(s):  
Ivan Basić
Keyword(s):  
Eighteenth Century ◽  
Middle Ages ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Ninth Century ◽  
Eighth Century ◽  
Early Christian ◽  
Existing Structures ◽  
The Church ◽  
East West

The church of St Matthew, which stood next to the south entrance to Split cathedral until 1881, was constructed between the peripteros and temenos of Diocletian’s mausoleum, along its east-west axis. A large number of pre-existing structures in the church of St Matthew and their degree of preservation indicate that it was erected at the beginning of the early middle ages, when the original layout of diocletian’s building had been well preserved. The church was the original setting for the sarcophagus with the epitaph of Archbishop John from the second half of the eighth century, which can be linked to the restorer of the Salonitan archbishopric in Split, John of Ravenna, who is mentioned by Thomas, the Archdeacon of Split, in his thirteenth-century chronicle, Historia Salonitana. The analysis of the sources relevant for the burial place of Archbishop John of Ravenna (the fourteenth-century chronicle of A. Cutheis and his catalogue of the archbishops of Split) showed that the data from these records are also of early medieval origin. The chronological frame in which the formula carved on the lid of the Archbishop’s sarcophagus existed, its epigraphic features and comparisons with the deceased’s epitaph, link it with the time when the longer inscription and the decoration of the sarcophagus front were carved - the end of the eighth century, and point to Archbishop John (c. 787) as the likeliest owner of the sarcophagus.  The choice of place for the sarcophagus of prior Peter, immediately next to the entrance to the church of St Matthew, in the ninth century, as well as the decoration and its relationship with the epitaph inspired by that on the sarcophagus of Archbishop john, corroborate that the prior’s sarcophagus was later than that of the Archbishop and the church in which it stood. The description of the church’s interior by D. Farlati in the eighteenth century, together with other indications, confirms that the sarcophagus and the church were made at the same  time, and that the Archbishop’s tomb was originally envisaged within the architectural setting of this church where an arcosolium contributed to its monumentality. The iconographic variant of the crossed-lily decoration and its specific symbolism originated in early christian Ravenna, which corresponds not only to the origin of the  Archbishop buried in the chapel but to the dedication to St Matthew, also of ravennate provenance, which creatively matches the iconographic programme of the sarcophagus. Thus, the sarcophagus, the church of St Matthew and John of Ravenna are connected to John,  the Archbishop of Split in the late eighth century.

Sardinia

2019 ◽  
pp. 519-536 ◽  
Author(s):  
Andrea Roppa
Keyword(s):  
Material Culture ◽  
Iron Age ◽  
Ninth Century ◽  
Western Mediterranean ◽  
Local Communities ◽  
Eighth Century ◽  
Specific Context ◽  
Late Ninth Century ◽  
Basic Features ◽  
Mixed Communities

Starting from the late ninth century bce, groups of Phoenician sailors and merchants landed on the island of Sardinia, searching for resources—metals in particular—to trade along the trans-Mediterranean maritime network they had begun to establish. The earliest permanent Phoenician settlement dates back to the first half of the eighth century bce, and by the end of the following century new Phoenician settlements appeared, mainly on the coasts of Sardinia’s southern part. In this chapter, the author explores interactions between Phoenicians and the local Nuragic culture, which was thriving at the time of the newcomers’ arrival, and the spread of Phoenician material culture on the island. The chapter traces the patterns of Phoenician presence as outcomes of diversified forms of contact and interaction with Nuragic communities, varying significantly across the island throughout the Iron Age. The author lays out the basic features of Iron Age Nuragic society, and explores how and to what extent local communities made use of Phoenician material culture between the late ninth and eighth centuries bce. The chapter then moves to define the archaeological features of Phoenician sites, and focuses on interaction and the appearance of mixed communities, particularly at indigenous sites in the seventh and sixth centuries bce. Finally, the specific context of the Phoenician diaspora on Sardinia is set in the wider western Mediterranean contemporary scenario.

Samāǧa performances in third/ninth-century Abbasid courts

2019 ◽  
Vol 82 (2) ◽  
pp. 289-302
Author(s):  
Massimiliano Borroni
Keyword(s):  
Ninth Century ◽  
Eighth Century ◽  
Central Asian ◽  
Literary Sources

AbstractLiterary sources from the Abbasid period record few descriptions of courtly masquerades and plays called samāǧa, which closely resemble sumozhe plays from eighth-century China. On the basis of these samāǧa descriptions, the present paper argues that it is possible to understand how samāǧa plays were carried out. Moreover, I argue that samāǧa performances were a Central Asian custom imported to the Abbasid court with the establishment of the Turkish corps, and that its disappearance after the caliphate of al-Muʿtaḍid signals a substantial shift in the nature of the Turkish presence in the Abbasid heartland, marked by the establishment of the mamlūk system.

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