The gold Bracteates from sixth-century Anglo-Saxon Graves in Kent, in the Light of a new Find from Finglesham

1981 ◽  
1981 ◽  
pp. 316-370
Keyword(s):  
2020 ◽  
Vol 22 ◽  
pp. 1-22
Author(s):  
Lisa Brundle ◽  

In Early Anglo-Saxon England, Style I anthropomorphic and zoomorphic motifs played a key role in shaping identity and communicating ideas in a non-literate society. While the zoomorphic designs are well discussed, the meaning of the human element of Style I remains underexplored. This paper addresses this imbalance by examining a rare and overlooked group of anthropomorphic images: human faces with small, pointed ears depicted on fifth- to sixth-century female dress fittings recovered from archaeological contexts in eastern England. This paper identifies quadrupedal creatures as a stylistic parallel within the menagerie of Style I, including equine, lupine and porcine creatures. Although it is difficult to identify the character/s depicted with ears, there are notable affinities between the anthropomorphic masculine face with pointed ears and the ancient Germanic practice of warriors donning wolf and bear pelts. The facial motif with pointed ears appears on feminine metalwork within East Anglia, the historic region of the sixth-century Wuffingas (Little Wolf) dynasty – Wuffa being Wolf and the -ingas suffix meaning ‘people/descendants of Wuffa’. This paper explores this rare design with contextual information from pictorial and historical texts of shapeshifting and considers the relationship between this motif, the object, and the wearer/user.


1976 ◽  
Vol 56 (2) ◽  
pp. 227-233 ◽  
Author(s):  
Margaret Lindsay Faull

SummaryExamination of the Rolleston papers and local field-work have permitted identification of the site of the Sancton II cemetery and ascription of objects in the Ashmolean Museum to individual burials described by Rolleston. It can now be seen that, during the sixth century A.D., a small, predominantly inhumation cemetery close to the village was in use concurrently with the large cremation cemetery, which had begun on the top of the wold in the early fifth century and which was possibly used by surrounding communities, and that the Christian church was eventually built on the same site as the inhumation cemetery.


1991 ◽  
Vol 20 ◽  
pp. 27-41 ◽  
Author(s):  
Martin Werner

Although it is a precious and rare material testament to the introduction of Christianity to Anglo-Saxon England, the Liudhard medalet (pl. I) has received surprisingly little scholarly attention. It is scarcely known to art historians. The aim of this paper is to draw attention to the emblem on the reverse of the issue, and to offer an hypothesis on its meaning. Discovered ‘some years’ before 1844 with other gold coins – looped for suspension as if for a necklace of medalets – and jewellery in or near the churchyard of St Martin's, Canterbury, and published in 1845, the medalet recently has been convincingly assigned to a group of grave goods deposited c. 580–90. Besides the coin in question, the group included an Italian tremissis of Justin II, a Germanic tremissis of unsure origin, a Merovingian solidus struck by Leudulf at Ivegio vico and two tremisses from southern France, the first from Saint-Bertrand-de-Comminges, the second from Agen. Today these objects are in Liverpool, and Philip Grierson has persuasively argued for the inclusion of a Merovingian tremissis in the Bibliothèque Nationale, Paris, as once forming part of the deposit. Most likely all the coins of the Canterbury group were issued during the second half of the sixth century.


2012 ◽  
pp. 52-56
Author(s):  
Kirsty March

1st soldier: You’re using coconuts! King Arthur: What? 1st soldier: You’ve got two empty halves of coconut and you’re bangin’ ‘em together. King Arthur: So? We have ridden since the snows of winter covered this land, through the kingdom of Mercia, through . . . 1st soldier: Where’d you get the coconuts? King Arthur: We found them. 1st soldier: Found them? In Mercia?! The coconut’s tropical! (Monty Python and the Holy Grail, 1975, directed by Terry Gilliam and Terry Jones) Mercia is a county in the English midlands, and its foundation dates to the sixth century. In studies of the Anglo-Saxon period, Mercia is overshadowed by its neighbour Northumbria as famous works of art such as, the Cuthbert Cross and Lindisfarne Gospel Book were manufactured in Northumbria. However, Mercia produced manuscripts which are thought to be the earliest surviving European devotional prayer books. My research focuses on these Mercian manuscripts ...


1967 ◽  
Vol 47 (1) ◽  
pp. 1-26 ◽  
Author(s):  
Sonia Chadwick Hawkes ◽  
R. I. Page

The rarity of runic inscriptions from early Anglo-Saxon England, and particularly from the southern kingdoms in the pagan period, makes even a nearly illegible example worth recording. We draw attention here to the remains of such an inscription, hitherto unrecognized, on a sixth-century sword-pommel from the Anglo-Saxon cemetery at Sarre, on Thanet in east Kent, and we take the opportunity of reconsidering two well-known contemporary inscriptions, on a sword-pommel from the cemetery at Gilton, Ash, also in east Kent, and on the scabbard of a sword from the cemetery on Chessell Down in the Isle of Wight.


1939 ◽  
Vol 21 ◽  
pp. 1-19 ◽  
Author(s):  
F. M. Stenton

During the last twenty years, the study of English place names has placed a large body of new evidence at the service of those who are interested in the earliest phases of Anglo-Saxon history. It may at once be admitted that the study has sometimes shown its vitality by becoming controversial, and that much of the evidence may be interpreted in more than one way. It is gradually becoming clear that when all the available material has been collected and discussed, there will remain a very large number of place-names of which no conclusive interpretation is ever likely to be given.


2017 ◽  
Vol 110 (1) ◽  
pp. 1-28 ◽  
Author(s):  
David Carlson

AbstractBy the middle of the sixth century, in Byzantine perspective, Britain had so long since ceased to be part of the empire of the Romans as to have become a kind of never-land, some part of the known world, but also the sort of place of which it was possible to credit the fabulous. Information was scarce. Nevertheless, the chief source for the sixth-century east-Roman regime in Constantinople, Procopius (c. 500 -565 CE), met a group of Anglo-Saxons c. 540, who were contemporaries of Beowulf’s king Hygelac; and Procopius may have learned from hoi Angiloi something about the Old English poetry, at a particularly important point in its formation, before the beginning of the conversion of the English to Christianity in 597 CE. Procopius’s English informants told him a tale (of the vengeful Anglo-Saxon bride of a Frisian basileos named Radigis) of a type consonant with later examples of Old English poetry; also, with an historical basis that coincides with the historical milieu to which the earliest Old English heroic poetry also refers, including Beowulf.


2021 ◽  
Vol 17 (1) ◽  
pp. 43-65
Author(s):  
Julian Calcagno

The values that underpin the Anglo-Saxon concept of honour changed at the beginning of the sixth century. During this period, Anglo-Saxon kingdoms enshrined a new era of cultural and religious fervour, inculcating new practices of honour among the new Christianised Anglo-Saxon elite. This paper demonstrates the transition from pagan to Christian honour systems. Historians have often examined honour through concepts based on comparisons or 'terms of art', for example 'Bushido' in Japan, 'Futuwwa' in Islam, and 'chivalry' in Christianised later-medieval Europe. This paper emulates these examples by examining honour in Anglo-Saxon society through use of the Old English term weoro, an under-studied phenomenon. Unlike Bushido or chivalry, weoro does not imply a mandated way of living. Weoro is instead pervasive, encompassing many modes of Anglo-Saxon life: poetry, giving- and -receiving, burial, kin, and bestowing honours. This paper combines sociological analysis with historical evidence.


2000 ◽  
Vol 51 (2) ◽  
pp. 249-266 ◽  
Author(s):  
JANE SAYERS

The arrival of St Augustine in England from Rome in 597 was an event of profound significance, for it marked the beginnings of relations between Rome and Canterbury. To later generations this came to mean relations between the papacy in its universal role, hence the throne of St Peter, and the metropolitical see of Canterbury and the cathedral priory of Christ Church, for the chair of St Augustine was the seat of both a metropolitan and an abbot. The archiepiscopal see and the cathedral priory were inextricably bound in a unique way.Relations with Rome had always been particularly close, both between the archbishops and the pope and between the convent and the pope. The cathedral church of Canterbury was dedicated to the Saviour (Christ Church) as was the papal cathedral of the Lateran. Gregory had sent the pallium to Augustine in sign of his metropolitan rank. There had been correspondence with Rome from the first. In Eadmer's account of the old Anglo-Saxon church, it was built in the Roman fashion, as Bede testifies, imitating the church of the blessed Peter, prince of the Apostles, in which the most sacred relics in the whole world are venerated. Even more precisely, the confessio of St Peter was copied at Canterbury. As Eadmer says, ‘From the choir of the singers one went up to the two altars (of Christ and of St Wilfrid) by some steps, since there was a crypt underneath, what the Romans call a confessio, built like the confessio of St Peter.’ (Eadmer had both visited Rome in 1099 and witnessed the fire that destroyed the old cathedral some thirty years before in 1067.) And there, in the confessio, Eadmer goes on to say, Alfege had put the head of St Swithun and there were many other relics. The confessio in St Peter's had been constructed by Pope Gregory the Great and contained the body of the prince of the Apostles and it was in a niche here that the pallia were put before the ceremony of the vesting, close to the body of St Peter. There may be, too, another influence from Rome and old St Peter's on the cathedral at Canterbury. The spiral columns in St Anselm's crypt at Canterbury, which survived the later fire of 1174, and are still standing, were possibly modelled on those that supported St Peter's shrine. These twisted columns were believed to have been brought to Rome from the Temple of Solomon. At the end of the sixth century, possibly due to Gregory the Great, they were arranged to form an iconostasis-like screen before the apostle's shrine. Pope Gregory III in the eighth century had added an outer screen of six similar columns, the present of the Byzantine Exarch, of which five still survive. They are practically the only relics of the old basilica to have been preserved in the new Renaissance St Peter's.


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