Monday, December 5, 2011

Viking Swords and Beowulf

Swords hold a place of importance in the classic epics. One such epic, Beowulf provides a good example of the importance swords played in ancient European culture. I decided to go over the poem, and provide some information on the development of swords at the time, and their place in society.

This is a repost of a post from my other blog, but I felt like its true home is here.

History
Just to provide a little background, I'll briefly go over the evolution of the viking sword, starting at the Iron Age. At the beginning of the Iron Age, iron replaced bronze as the primary material used to create swords and other weapons. The story of the viking sword most likely used by Beowulf begins with the Celtic culture at the dawn of the Iron Age.

The Celtic sword, several examples of which are shown in the image above, were relatively crude weapons when compared to later steel weapons. Quenching techniques had not yet been developed so iron swords were created using the same forging techniques used to create bronze swords. During this period, however, smiths learned new techniques and slowly discovered the method by which to make steel, which resulted in swords that were harder to break, and more capable of holding an edge.

As the Celtic culture declined, other cultures picked up on their iron and steel working techniques, which led to the creation of several swords inspired by the Celtic design over the course of history. The next step in the evolution of the Viking sword was oddly enough carried on by the Romans.

The Roman Gladius is a fairly iconic sword, that is recognizable even by people with no interest in historical weaponry. It was a short steel sword, similar to the Greek swords, used in close quarters. The Gladius was not the primary weapon of the infantry, who focused instead more on tight formations and the pilum, or spear. Strong similarities can be seen between the Roman Gladius and the Celtic swords, especially in the shape of the grip, which in both cases does not feature a cross piece.

Before the Gladius developed into the Viking sword, however, there was one more evolutionary stage, that also took place among the Romans.

The Spatha was a much longer sword than the Gladius, and was developed for use by Cavalry officers, who would have need of the longer reach the Spatha provided from horseback. Their use was widespread among the conscripted Germanic troops, and found wide use among heavy infantry in later years. Eventually it replaced the Gladius among front line troops, providing them with a longer reach.

The Spatha eventually traveled north, where it was developed into the weapon used by the Norsemen, and Vikings.



Forging and Dimensions
The Viking method of forging blades was passed down from the later Iron Age, around the time that steel was developed. The technique was referred to as Pattern Welding, and was the answer to the two main problems that iron and steel swords had. Iron, while much harder than bronze, was still not quite hard enough to hold an edge. It was a fairly malleable material, but could still be beaten out of shape, and had to be regularly sharpened. Steel on the other hand was much harder and could be sharpened to an edge, and retain that edge. However, it was also brittle, and could easily shatter if the force of impact was large enough.

Pattern welding took the advantages of both materials, and combined them to negate the disadvantages of both. For those familiar with the Japanese style of sword forging, they already now that the Katana is created by folding a harder steel layer over a softer iron core. The folded edge would then be sharpened and hold the edge, while the soft iron on the inside absorbed the vibrations of impact during combat. However, the method of folding the steel over the iron leaves the soft iron exposed on one end. This was not an issue in the case of forging Katanas, as the soft edge was also the inside of the curve, and wasn't used for fighting.

Viking swords, and its predecessors, however were all double edged weapons. Meaning that folding the steel over the iron was never an option, as the edge that would be created would remain the weaker edge. Instead of folding, while a viking sword was forged the smith would take a bar of iron, and five smaller bars of steel. Keeping the iron in the center the smith would then weave the bars of steel around the iron, creating a blade that perfectly encased the iron center, and created a steel shell that could be beaten and sharpened into edges.

Because of this forging technique, Viking swords had both the properties of iron and steel. They were hard, held an edge, and could not be bent out of shape. They were also flexible, and could bend just enough to prevent them from shattering after use.

A common feature of Viking swords was a fuller, which ran down the length (31.5" long) of the blade in the center. It was a groove that served the dual purpose of lightening the blade, but most importantly it served to stabilize the blade, and allow it to keep its straight shape more effectively. To understand how this works it helps to think of the blade as a I-beam.

The I-beam provides rigid support during construction, and is lighter and stronger than just a regular steel beam could be. Because of its shape the three plates of metal prevent each other from bending out of shape. I apologize if I can't really explain it, I'm not an engineer, but this is how it was explained to me by a researcher of medieval weaponry.


Another iconic, not functional, feature of Viking blades can be seen on the pommel, the counterweight at the edge of the hilt. Usually, to some variation or another the pommel featured five nubs arranged along the bottom of the pommel.

Social Role
Oddly enough, the sword was not the preferred weapon of Vikings. Instead the average Viking would choose cheaper weapons such as axes and spears. Swords were reserved for the richer members of society, those that could actually afford them. Beowulf, being a Prince, would definitely be one such who could afford such a weapon.

What's even more interesting is Unferth's gifting of Hrunting to Beowulf. If the sword was even half as magnificent as it is described as, then Unferth was a wealthy man indeed. Even more impressive is the fact that he gave this weapon to Beowulf, and what an incredible gift it was. Considering how Unferth was Beowulf's main challenger, and generally displayed suspicion towards Beowulf, this event marks exactly how much Unferth's opinion of Beowulf had changed. Not only that, but it marked exactly how magnificent Beowulf was, that his deeds were so great that they caused a man who had challenged his claims to not only change his opinion, but to provide Beowulf with such a noble and rich gift.

Tuesday, October 25, 2011

Magical Mystery Treasure: Staffordshire Gold Hoard - From National Geographic Magazine

Staffordshire Gold Hoard - Photo Gallery - Pictures, More From National Geographic Magazine

Staffordshire gold hoard

Magical Mystery Treasure

Buried in the English countryside. Anglo-Saxon in origin. Who hid it and why?

Published: November 2011
By Caroline Alexander
Art by Daniel Dociu
One day, or perhaps one night, in the late seventh century an unknown party traveled along an old Roman road that cut across an uninhabited heath fringed by forest in the Anglo-Saxon kingdom of Mercia. Possibly they were soldiers, or then again maybe thieves—the remote area would remain notorious for highwaymen for centuries—but at any rate they were not casual travelers. Stepping off the road near the rise of a small ridge, they dug a pit and buried a stash of treasure in the ground.

For 1,300 years the treasure lay undisturbed, and eventually the landscape evolved from forest clearing to grazing pasture to working field. Then treasure hunters equipped with metal detectors—ubiquitous in Britain—began to call on farmer Fred Johnson, asking permission to walk the field. "I told one I'd lost a wrench and asked him to find that," Johnson says. Instead, on July 5, 2009, Terry Herbert came to the farmhouse door and announced to Johnson that he had found Anglo-Saxon treasure.

The Staffordshire Hoard, as it was quickly dubbed, electrified the general public and Anglo-Saxon scholars alike. Spectacular discoveries, such as the royal finds at Sutton Hoo in Suffolk, had been made in Anglo-Saxon burial sites. But the treasure pulled from Fred Johnson's field was novel—a cache of gold, silver, and garnet objects from early Anglo-Saxon times and from one of the most important kingdoms of the era. Moreover, the quality and style of the intricate filigree and cloisonné decorating the objects were extraordinary, inviting heady comparisons to such legendary treasures as the Lindisfarne Gospels or the Book of Kells.

Once cataloged, the hoard was found to contain some 3,500 pieces representing hundreds of complete objects. And the items that could be securely identified presented a striking pattern. There were more than 300 sword-hilt fittings, 92 sword-pommel caps, and 10 scabbard pendants. Also noteworthy: There were no coins or women's jewelry, and out of the entire collection, the three religious objects appeared to be the only nonmartial pieces. Intriguingly, many of the items seemed to have been bent or broken. This treasure, then, was a pile of broken, elite, military hardware hidden 13 centuries ago in a politically and militarily turbulent region. The Staffordshire Hoard was thrilling and historic—but above all it was enigmatic.

Celts, Roman colonizers, Viking marauders, Norman conquerors—all came and went, leaving their mark on Britain's landscape, language, and character. But it is the six centuries of Anglo-Saxon rule, from shortly after the departure of the Roman colonizers, around A.D. 410, to the Norman Conquest in 1066, that most define what we now call England.

Barbarian tribes had been moving westward across Europe since the mid-third century and may have made raids on Britain around this time. In the early fifth century the restless tribes menaced Rome, prompting it to withdraw garrisons from Britannia, the province it had governed for 350 years, to fight threats closer to home. As the Romans left, the Scotti and Picts, tribes to the west and north, began to raid across the borders. Lacking Roman defenders, Britons solicited Germanic troops from the continent as mercenaries. The Venerable Bede—whose Ecclesiastical History of the English People, written in the eighth century, is the most valuable source for this era—gives the year of the fateful invitation as around 450 and characterizes the soldiers as coming from "three very powerful Germanic tribes, the Saxons, Angles, and Jutes." Modern scholars locate the homelands of these tribes in Germany, the northern Netherlands, and Denmark.

Enticed by reports of the richness of the land and the "slackness of the Britons," the soldiers in the first three ships were followed by more, and soon, Bede noted, "hordes of these peoples eagerly crowded into the island and the number of foreigners began to increase to such an extent that they became a source of terror to the natives." The British monk Gildas, whose sixth-century treatise On the Ruin of Britain is the earliest surviving account of this murky period, describes the ensuing islandwide bloodshed and scorched-earth tactics at the hands of the invaders: "For the fire of vengeance … spread from sea to sea … and did not cease, until, destroying the neighbouring towns and lands, it reached the other side of the island."

According to Gildas, many in the "miserable remnant" of surviving native Britons fled or were enslaved. But archaeological evidence suggests that at least some post-Roman settlements adopted Germanic fashions in pottery and clothing and burial practices; in other words, British culture vanished at least in part through cultural assimilation. The extent of the Anglo-Saxons' appropriation of Britain is starkly revealed in their most enduring legacy, the English language. While much of Europe emerged from the post-Roman world speaking Romance languages—Spanish, Italian, and French derived from the Latin of the bygone Romans—the language that would define England was Germanic.

The discovery of a treasure hoard in an English field was not in itself remarkable. Such finds surface everywhere in Britain. Coins, silver objects cut up for scrap metal, dumps of weapons, even a magnificent silver dinner service—all from British, Roman, or Viking times—have been found in the soil. In the Anglo-Saxon epic Beowulf the warrior Sigemund has killed a dragon guarding "dazzling spoils," and the aged hero Beowulf battles a dragon guarding gold and "garnered jewels" laid in the ground.

Treasure was buried for many reasons: to keep it out of enemy hands, to "bank" a fortune, to serve as a votive offering. Given the era's scant documentation, the motive behind the burial of the Staffordshire Hoard is best surmised from the hoard itself. The first clue is its military character, which suggests that the assemblage was not a grab bag of loot. The nature of the hoard accords with the militarism of the Germanic tribes, which was impressive even to the military-minded Romans. The historian Tacitus, writing in the late first century, noted that "they conduct no business, public or private, except under arms," and that when a boy came of age, he was presented with a shield and spear—"the equivalent of our toga."

Warfare formed England. The consolidation of land gained by warfare and alliances was the likely origin of the tribal kingships of early Anglo-Saxon England. The first Mercians are thought to have been Angles who moved inland along the River Trent, establishing themselves in the valley in the vicinity of the hoard. Mercia was not only one of the most important of the seven principal Anglo-Saxon kingships into which England was roughly divided but also one of the most belligerent. Between A.D. 600 and 850 Mercia waged 14 wars with its neighbor Wessex, 11 with the Welsh, and 18 campaigns with other foes—and these are only the named conflicts.

The apex of Teutonic military craft was the long cutting sword. Averaging about three feet, blades were pattern welded, a sophisticated technique by which twisted rods and strips of iron or steel were hammered together. Forged from this intricate folding, the polished blades rippled with chevron or herringbone patterns. As one appreciative recipient recorded in the early sixth century, they appear "to be grained with tiny snakes, and here such varied shadows play that you would believe the shining metal to be interwoven with many colours."

Modern studies of wounds on skeletons found in an Anglo-Saxon cemetery in Kent show that these beautiful swords also worked: "Male, aged 25-35 years … has a single linear cranial injury 16 cm long," states the clinical report. "The plane of the injury is almost vertically downwards."

The number of sword pommels in the Staffordshire Hoard, 92, roughly corresponds with the number of men noted as making up one nobleman's troop of retainers. The hoard, then, could represent the elite military gear that distinguished the retinue of a certain lord. Often a sword was issued by a lord to his retainers along with other equipment and even horses, together known as a heriot, repaid if the retainer died before his lord. In a will written in the tenth century a district official bequeaths "to my royal lord as a heriot four armlets of … gold, and four swords and eight horses, four with trappings and four without, and four helmets and four coats-of-mail and eight spears and eight shields." Swords were also buried with their warrior owners or passed down as family heirlooms.

But sometimes swords were buried without warriors. In a practice in northern Europe dating from the Bronze Age through Anglo-Saxon times, swords and other objects, many conspicuously valuable, were deposited in bogs, rivers, and streams as well as in the ground. "We can no longer see hoards only as piggy banks," says Kevin Leahy, an authority on Anglo-Saxon history who was entrusted with the task of cataloging the Staffordshire treasure.

Ritual deposits, as opposed to caches buried for safekeeping, are found not only in Britain but also in Scandinavia, homeland of some of England's Germanic tribes. Significantly, many weapons—and sometimes other objects, such as a craftsman's tools—were, like the objects in the hoard, bent or broken before burial. Perhaps "killing" a weapon dispatched it to the land of spirits or rendered it a votive offering to the gods, its destruction representing the donor's irrevocable surrender of the valuable weapon's use.

"This is a hoard for male display," says Nicholas Brooks, an emeritus historian at the University of Birmingham, who calls the glittering objects found in Staffordshire "bling for warrior companions of the king." Gold, weighing in at more than 11 pounds, accounts for nearly 75 percent of the metal in the hoard. According to Brooks, "the source is a mystery." The origin of most gold in England was ultimately Rome, whose later imperial currency had been based on the solidus, a solid gold coin. Imperial gold had fallen to the Germanic tribes as plunder following the sack of Rome, and caches found in England may have been recirculated and recycled. By the date of the Staffordshire Hoard, gold supplies were dwindling, and silver and silver alloy were being used instead. Similarly, the source of garnets—like gold, a striking feature of the hoard—had shifted, from India to Bohemia and Portugal.

Historian Guy Halsall has estimated the value of the hoard's gold in its day as equivalent to 800 solidi, about 80 horses' worth. Modern valuation of the find has been set at £3,285,000, or just under $5.3 million. In its own time, however, the hoard's worth was surely calibrated by other considerations. The gold dazzles, but from a practical point of view the most valuable part of the weaponry—"the long, sharp, pointy bit you killed people with," as Halsall notes dryly—is not present in the hoard, and it is possible that the sword blades were cannily retained for reuse.

Above all, the pieces in the hoard were forged and buried in a world in which mundane events and acts could be suffused with magic; misfortune, for instance, was commonly attributed to tiny darts fired by malicious elves, and many charms against attacks survive. The magic properties an object possessed trumped its material worth. Gold was valued not only for being precious but also because, alluring and indestructible, it was infused with magic, and therefore used in amulets. Germanic myths tell of the gods' great hall of gold, and as Christian churches and monasteries gained wealth, they acquired golden sacramental objects. In many cultures the very art of metallurgy is magical, and Nordic sagas have vivid details of the smith's magic arts, from Odin's spear and gold ring to Thor's hammer.

Magic may also account for the only three obviously nonmilitary objects in the Staffordshire Hoard: two gold crosses and a slender strip of gold inscribed with a biblical quotation. Christianity first came to Britain with the Roman occupation, faded as the Romans faded, and was vigorously reintroduced to Anglo-Saxon England by missionaries, most from Ireland and the Continent. There was a "perception of the conversion event as a spiritual battle," writes Karen Jolly, an authority on Anglo-Saxon popular religion. Conversion was a battle for the soul—effectively warfare, something the Germanic pagans understood. And the cross was a militarily useful symbol that had figured dramatically in actual battles. Bede tells the story of the Northumbrian king Oswald, who before the Battle of Heavenfield against the Welsh in 634 "set up the sign of the holy cross and, on bended knees, prayed God to send heavenly aid to His worshippers in their dire need." He and his men then "gained the victory that their faith merited." Remarkably, one of the hoard's two crosses was determinedly bent and folded, like so many of the other pieces in the hoard. Was this to "kill" its military potency, as with the swords?

This possibility is made more compelling by the only other apparently nonmartial object: The slender strip of gold, inscribed on two sides with the same biblical quotation is, strikingly, also folded. "[S]urge d[omi]ne disepentur inimici tui et [f]ugent qui oderunt te a facie tua—Rise up, Lord, may your enemies be dispersed and those who hate you flee from your face." The quotation is from the Latin Vulgate text of Numbers 10:35 and the Psalm now numbered 68:1—verses that may have been put to unexpected use. In the Life of Saint Guthlac, written around 740, Guthlac is beset by demons, whereupon he "sang the first verse of the sixty-seventh psalm as if prophetically, 'Let God arise,' etc.: When they had heard this, at the same moment, quicker than words, all the hosts of demons vanished like smoke from his presence." Even the hoard's nonmartial objects, it seems, might have had militarily useful, magical functions.

The Mercians were aggressive border raiders—Mercia takes its name from the Old English mierce, meaning "frontier people"—which may account for the apparent range of regional styles in the hoard. "The hoard was found on a frontier zone, which is always interesting," Kevin Leahy says. "It was on the border between Mercia and Wales." In other words, in contested territory. Around 650, in Staffordshire's Trent Valley near Lichfield, an obscure battle was fought involving the Mercians and their Welsh neighbors. Much plunder was carried away—possibly down the old Roman road Watling Street, which leads past the site where the Staffordshire Hoard was found. Event and place are commemorated in the Welsh poem "Marwnad Cynddylan—The Death Song of Cynddylan":
Grandeur in battle! Extensive spoils
Morial bore off from in front of Lichfield.
Fifteen hundred cattle from the front of battle;
four twenties of stallions and equal harness.
The chief bishop wretched in his four-cornered
house, the book-keeping monks did not protect.
A retinue of 80 horses and spoils from a "wretched" bishop (a detail that conjures the gold inscription and crosses): The poem offers a tempting explanation for the hoard, an explanation, alas, built from slender, circumstantial evidence that has happened to survive from an era from which most evidence was lost. We can conjure other teasing theories. Our unknown travelers may have chosen the burial spot because it was obscure—or because it was conspicuous. The burial might have had a marker for rediscovery, or it might have been intended as an offering hidden forever to all but their gods. The hoard may have been ransom, or booty, or a votive thanks. It may have been a collection of Anglo-Saxon heirlooms buried at a later time.

Today the vanished Mercian landscape is evoked by surviving Anglo-Saxon place-names, such as those ending with "leah" or "ley," meaning "open woodland," like Wyrley, or Lichfield itself, whose name roughly means the "common pasture in or beside the gray wood." The hoard burial site is now a grassy field where Fred Johnson grazes horses. Odds are we will never know the story behind the Staffordshire Hoard, but in a world without magic spells or dragons, would we understand it if we did?

Thursday, September 29, 2011

Viking Treasure Trove Discovered in Swedish Garden

A Viking cache of silver coins recently discovered in Sweden included an extremely rare coin, pictured front (left) and back, minted for Olof Skötkonung, an ancient Swedish king.The hoard also included coins from present-day Iraq and Uzbekistan, demonstrating the breadth of the Vikings’ trade networks.


A thousand-year-old Viking treasure trove has been dug up in a garden in Sweden, archaeologists report. The hoard of silver coins from Europe, central Asia, and the Middle East was unearthed earlier this month by a gardener tending his vegetable patch on the Baltic island of Gotland (see Sweden map).So far 69 coins dating from the late 900s and early 1000s have been found, said archaeologist Dan Carlsson of Gotland University.The find contains rare early Viking money and foreign currency from present-day England, Germany, Ireland, Iraq, and Uzbekistan. Along with a similar cache recently discovered in England, the new find paints a picture of Vikings trading and looting their way across Europe and beyond. The Anglo-Saxon coins were likely either plunder or protection money known as danegeld, which was paid by regional rulers to keep Vikings from attacking, experts said.

The Asian coins are products of the Vikings’ extensive trade, which the Norse conducted by sailing south along Russia’s long rivers to reach the Middle East. Between 700 and 800 silver hoards have been discovered so far on Gotland, which was ideally located as a Viking trading center, Carlsson said.(See a photo of a Viking stash of Arabic coins found in Gotland in October 2006.)”Gotland was situated right in the middle between western and eastern Europe,” he said.”Most of the coins [found on the island] were actually Arabic coins [that came] up the Russian rivers.”"Remarkable” DiscoveriesGareth Williams, curator of early medieval coinage at the British Museum in London, said the concentration of early medieval coins in Gotland is “remarkable.” “We’ve got more surviving late Anglo-Saxon coins from Gotland than we have from Britain, despite the fact it’s not a very big island and quite a way away,” he added.

The newfound hoard, buried some 1,300 feet (400 meters) from the site of an ancient Viking settlement, also includes highly unusual coins minted for Olof Skötkonung, a regional Swedish king, Carlsson said. “He was the first king that minted coins in Sweden,” he said. “He obviously learned [coin-making] from England,” he added. “Many of the coins are copies of English coins, most of all Ethelred coins.” Ethelred II was England’s monarch from 978 to 1016. Also known as Ethelred the Unready due to his lack of reliable counsel, he paid massive amounts of “tribute money” to the Vikings and is featured on Anglo-Saxon coins discovered in the garden cache. Sihtric, the Viking ruler of Dublin, Ireland, was another king whose money turned up in the hoard.Williams noted that a number of the Gotland coins show knife marks left by “pecking,” a practice used to test whether they were genuine silver or counterfeits made of lead.”

A huge amount of coinage was making its way through there, more than the locals could ever possibly have had a use for,” Williams added. Many researchers believe these hoards functioned like safe deposit boxes: Viking cash deposits were hidden in the ground for safety until needed.Other experts suggest that the caches had a religious significance and were saved up and buried by their owners for use in the afterlife. (Read related story: “Vikings Filed Their Teeth, Skeleton Study Shows” [February 3, 2006].)Huge Haul Found in EnglandThe new find follows the discovery earlier this year of a major Viking hoard by amateur treasure hunters in northeast England.That hoard was said by experts to be among the most important ever found in Britain.

Unearthed by amateurs using metal-detectors in a field near Harrogate, North Yorkshire (see map), the treasure included a rare gold armband, jewelery, and more than 600 coins collected from as far away as Afghanistan. The hoard was stashed inside a decorated gilt silver vessel thought to have been looted from a monastery in France. The treasure is dated to between 927 and 929, when the Anglo-Saxons regained control of northeast England from the Vikings. A number of Viking hoards found in the region were buried around this period, according to Williams, of the British Museum. “This was probably linked to the Anglo-Saxons pushing northwards,” he said. The Harrogate treasure likely belonged to an important Viking chieftain, he added. Researchers can only speculate why he never retrieved it. “He could have been killed in battle, forced to leave the region, or died of old age before he had a chance to recover it,” Williams said.

Wednesday, September 28, 2011

Cloth Making

All of the steps of making a set of clothing, from processing the fibers, to spinning, weaving, cutting, and sewing, were done by the women of the family. Since the process was so labor intensive, a set of clothing was highly prized and carefully maintained.

Clothing was commonly made from wool or linen. Other fabrics (such as silk) were known, but were costly and rare. It has been thought that outer garments were typically wool, while under garments were linen. More recent research suggests that linen was commonly used for outer garments as well.

Viking Raids


Evariste Vital Luminais (b.1821-1896), "Norman Pirates", 1897.
The Norse were looking for three things: new victims, new partners with which to trade and new land on which to settle. In many cases, Norse voyages included all three activities.

The raids were usually opportunistic, against targets that could be attacked, plundered, and departed from quickly. Vikings stayed along the coast or on navigable rivers; overland marches were avoided. The goal was to grab as much valuable booty as possible before an effective defense could be raised. Typical booty included weapons, tools, clothing, jewelry, precious metals, and people who could be sold as slaves.
Vikings invaded Europe for many years and Warriors from Nidaros were also among them. 

The Viking raids didn't come to an end with any singular event. Some would say the widespread conversion to Christianity in the Norse lands at the beginning of the 11th century signaled the end of the Viking age. The teachings of the Christian religion did not encompass the kinds of activities that took place on a typical raid.
Edward Matthew Hale (b. 1852-1924), "After the Raid", 1892.

In the year 1066, King Harold of Norway died trying to conquer England. It would be the last major Norse raid. In the same year, Polish tribesmen overran and destroyed Hedeby, the primary Norse trading center. The climate turned colder that century, making life more difficult in the north. The Norse influence in continental Europe gradually declined.

Viking Expansion Map

Viking Expanstion Map, Wikipedia. Retrieved 28 September 2011.
Map showing area of Scandinavian settlement in the eighth (dark red), ninth (red), tenth (orange) and eleventh (yellow) centuries. Green denotes areas subjected to frequent Viking raids.

Tuesday, September 27, 2011

Valhalla Rising

Photo: Valhalla Rising (2009) is a viking film from Bronson director Nicholas WInding Refn.

The movie will promote the theory that an expedition of Vikings from Scotland reached North America centuries before Christopher Columbus. Most historians now accept that Vikings beat Columbus to the New World. Voyages are described in Norse sagas and evidence has been found to prove their presence on the continent. “Valhalla Rising” will though be shot as a fictional movie, in Nicolas Winding Refn’s documentary style.

For years, One-Eye, a mute warrior of supernatural strength, has been held prisoner by the chieftain Barde. Aided by a boy, Are, he kills his captor and together they escape, beginning a journey into the heart of darkness. On their flight from bounty hunters, One-Eye and Are board a Viking vessel for Norway, but the ship is soon engulfed by an endless fog that first disintegrates as they sight an unknown land. As the new land reveals its secrets and the Vikings meet a ghastly fate, One-Eye discovers his true self.

Viking Museums

Below is the list of Viking museums across the world 

Dublinia & the Viking World (Dublin, Ireland)
A heritage centre, located in central Dublin, at the heart of the medieval city. The exhibitions at Dublinia explore life as it was in the medieval city and the world of the Vikings.

Jorvik Viking Centre (Great Britain)
A ‘must-see’ for visitors to the city of York and is one of the most popular visitor attractions in the UK outside London.

Lofotr Viking Museum (Lofotr – Vikingmuseet) (Borg, Norway)
A historical museum based on a reconstruction and archaeological excavation of a Viking chieftain’s village in the North Norwegian archipelago of Lofoten, Norway.

Ribe Viking Centre (Ribe Vikingecenter) (Denmark)
A unique experience and new knowledge about the Viking Age. You can wander round the reconstructed life-size Viking estate, peopled with Vikings with whom you can work and talk.

Ribe Viking Museum (Museet Ribes Vikinger) (Denmark)
Thousands of archeological finds from the excavations show how the vikings lived and traded with Europe. From the year 800 down to the year 1100 the town is fortified several times with big banks.

Viking Museum (Vikingemuseet) (Aarhus, Denmark)
The newly renovated museum tells the story of the Viking Period in Århus and is a part of Moesgård Museum. The museum is located where the archaeologists of Moesgård found Viking houses. A visit in the museum is a tour back in time.

Viking Museum at Ladby (Vikingemuseet Ladby) (Denmark)
The central “artefact” of the Viking Museum is the unique Viking ship grave, the only one in Denmark and the only one in the world that is exhibited on its original site. The museum career of the ship grave began in 1937, when the reconstructed burial mound, actually an arched concrete building, was dedicated.

Viking Museum Foteviken (Fotevikens Museum) (Sweden)
The Viking Reserve of Foteviken is a unique institution. Here researchers, antiquarians and Viking re-enactors are working together, developing and establishing a settlement from the late Viking Age and early Middle ages.

Viking Museum Haithabu (Wikinger-Museum Haithabu) (Germany)
A museum near the site of Hedeby, a former medieval city in Schleswig-Holstein, Germany focusing on the Viking Age history of the region. The museum features reconstructions of various Viking Age dwellings, ships, and houses numerous artifacts discovered during the ongoing archaeological research of the area.

Viking Ship Museum (Vikingeskebs Museet) (Roskilde, Denmark)
Danish national museum for ships, seafaring and boatbuilding in the prehistoric and medieval period.

Viking Ship Museum (Vikingskipshuset) (Oslo, Norway)
The museum displays the Viking Age Oseberg ship, Gokstad ship and Tune ship alongside sledges, beds, a (horse) cart, wood carving, tent components, buckets and other grave goods.

Viking Helmets


Photo: Viking Stone Statue
Helmets are not, in fact, common artifacts of the Viking Age and horned helmets are historically depicted only as shamanic. Ideas to the contrary emerged from the eighteenth and nineteenth century enthusiasm for a romanticized view of Scandinavia's 'Goth' history.

Apart from two or three representations of (ritual) helmets – with protrusions that may be stylized ravens, snakes or horns – no depiction of Viking Age warriors' helmets, and no preserved helmet, has horns. In fact, the formal close-quarters style of Viking combat (either in shield walls or aboard "ship islands") would have made horned helmets cumbersome and hazardous to the warrior's own side.

Therefore historians believe that Viking warriors did not use horned helmets, but whether or not such helmets were used in Scandinavian culture for other, ritual purposes remains unproven.

Photo: Viking helmet from Gjermundby, courtesy Ancient Goths.
The Vikings were often depicted with winged helmets and in other clothing taken from antiquity, especially in depictions of Norse gods. This was done in order to legitimize the Vikings and their mythology by associating it with the Classical world which had long been idealized in European culture.

Viking helmets were conical, made from hard leather with wood and metallic reinforcement for regular troops. The iron helmet with mask and chain mail was for the chieftains. The only true Viking helmet found is that from Gjermundbu in Norway. This helmet is made of iron and has been dated to the 10th century.

Monday, September 26, 2011

Clothing in Viking Era

As with many aspects of Viking-age material culture, our knowledge of Viking era clothing is fragmentary. The Viking people left few images and little in the way of written descriptions of their garments. Archaeological evidence is very limited and spotty. Thus, different scholars examining the evidence come to different conclusions. What is presented in this article represents only a range of possible interpretations.

Viking apparel was distinctive in style and originated in the Scandinavian and Germanic regions of Europe. The peasant dresses were mostly simple tunics worn more for functionality than for appearance. On the other hand, high medieval fashion clothes worn by nobility were highly ornate, decorated and embellished. Today, when people talk of medieval clothing it is not chain mail and armor, but the clothing that evolved during the latter part that they commonly refer to.

Norse people used worn out clothing for many purposes. Sometimes, it was coated with pitch and used to seal cracks in the shipbuilding process. In other cases, fabric was coated with pitch to use as a torch, but never lit. These pitch-coated fabrics have survived very well. At least one entire garment (a pair of men's trousers) has survived from the Viking era because someone used it in the process of building a ship.

Headwear was very much in use then as it is these days, with more variety. There were close-fitting coifs, wide brimmed straw hats, hoods, capes and jackets with hoods and hoods with a short cape just falling to the shoulders.

In Medieval Europe, sumptuary laws were enacted to dictate the types and colors of clothes people belonging to various classes could wear. This was done to help aristocracy retain their unique looks and distinguished styles. Though laws were enacted, enforcement was not simple or possible, giving people the freedom to wear different styles and colors of their choice.

Viking Slave's Clothing

We know little about the clothing worn by slaves, or how it differed from the clothing worn by free people. Most likely, it was similar to but simpler in design and execution than clothing worn by free men and women. Coarser, un-dyed fabric was probably used to reduce costs, with little or no ornamentation.

Viking Men's Clothing

Viking used more wool than anything else for making clothing. The Vikings made their own clothes from cloth woven from a loom by women and children in their own home.

Viking men were a long woolen Viking tunic that was tight fitting across the chest with a broad skirt and/or long trousers. The tunic was pulled on over the head. Men wore a tunic that was tight fitting across the chest. There were usually no fasteners, although some tunics had a simple button and loop of thread (left) to fasten the neck opening. A keyhole neckline was the most common, although many other shapes were used for the neck opening for both men and women. Men's necklines were high, since a garment that revealed the chest was considered effeminate.

Tunics of all but the poorest people were decorated with braid, at least on the neckline and cuffs. The tunics of the more wealthy were also decorated with braid on the hem of the skirt. Silk was also used to trim a tunic, although the cost of imported silk must have limited this kind of trim to only the wealthiest people.

Under the tunic, it's likely that most men also wore an undertunic (right). This was made most commonly from linen. (Linen was more expensive than wool, but more comfortable against the skin.) The construction was similar to that of the overtunic, except that the sleeves and skirt were made longer. It has been suggested that the undertunic was visible under the overtunic, so that people could see that one was wealthy enough to be able to afford an undertunic.
It appears that a wide range of styles of trousers were used in the Norse lands. Some were tight. Some were baggy. Some trousers were of simple construction. Some were complicated, using elaborate gores around the crotch area for freedom of motion, and built-in socks (like modern sleepwear for toddlers), with belt loops around the waist.

Trousers had no pockets and no fly. The lack of a fly meant that men had to pull up their tunic skirts and drop their trousers to relieve themselves. The lack of pockets in any Viking-era clothing meant that men and women had to carry their everyday items in other ways, such as suspended from the belt, carried in pouches, carried around the neck, or suspended from brooches.

In cold weather, Vikings wore fur or woolen hats, cloaks or sleeved jerkin. The cloak was simply a large rectangular piece of wool, sometimes lined with contrasting color wool. Cloaks provided protection from the cold, from the wind, and to a limited degree, from the rain. Some cloaks were made with very dense, very thick wool, which would have provided extra protection.


Fig - 5: 9th-10th century AD. A small penannular brooch with a flat, rectangular-section band with scrolled terminals and a long pin.

Cloaks were typically worn offset, with the right arm (the weapon arm) unencumbered by the cloak. Cloaks could be embroidered, or trimmed with tablet woven braid. Typically they hung to somewhere between the knee and the ankle depending on the wealth of the owner. The cloaks were fastened at the shoulder with a brooch or a pin at the right shoulder. The pins ranged from simple bone pins to elaborate gold jewelry.
Fig - 6:










On his feet he would wear socks and soft leather shoes or long leather boots suggest a certain elegance and style-consciousness. They were known to have worn puttee-like leg wrappings from knee to foot The wraps consistent of two long, narrow strips of cloth, typically wool, which were wound around the leg and foot. By starting at the knee and wrapping downwards, no clips or fasteners are needed. The wraps stay firmly in place, even during vigorous activity.

Most men wore long hair and beards as a protection from the cold weather. Caps were made of wool, or sheepskin, or leather and fur. Some had ear flaps for warmth.

Fig - 9:
In battle he would wear an iron helmet and a mail-chain to protect himself. The sword they carried seems lightweight and suitable for travel for warfare.










Source

Fig - 5: Lehtosalo-Hilander, P-L.,Luistari (Finland), A History of Weapons and Ornaments, Helsinki, 2000.

Viking Children's Clothing

There is little surviving evidence to help us determine what sort of clothing children wore, but there is little to suggest that children's clothing was anything other than adult clothing cut to fit the child's smaller frame.

Tunic and trousers were probably typical for boys, and a dress for girls. Their tunics were plain striped rough homespun wool, with trousers below. They both wore cloaks over their tunics.


Viking Women's Clothing

In general, women's clothing was made from the same materials as men's clothing. Typically, a woman wore an ankle length linen under-dress or shift, with the neck closed by a brooch.

Over it, she wore a shorter length woolen dress suspended by shoulder straps fastened by brooches. This kind of suspended dress is sometimes called a an apron-skirt.

Some interpret the outer dress as two separate panels, but more likely, it was a slightly flaring tube-shaped dress, longer at the back than the front. The details of how these garments were constructed is highly speculative.

Inga Hägg's article  in Cloth and Clothing In Medieval Europe
There is also evidence for an overdress similar to the one worn by the woman on the right, completely covering the shoulders and requiring no brooches, sometimes joined by a chain or string of beads to hold it in place. (left) Inga Hägg's article  in Cloth and Clothing In Medieval Europe which shoes of the inside of a pair of tortoise brooches that were found at Birka.


Belt buckles or other fastenings are rarely found in women's graves, as they are in men's graves, suggesting that women's belts were woven fabric, rather than leather.

Head coverings were typically worn by women, perhaps as simple as a knotted kerchief over the head (left), which even women of the lowest class wore a headdress.

Some noble women ma have worn elaborate headdresses, which may have been worn like jewelry on special occasions.

It has been suggested that the type of headdress worn served to distinguish married from unmarried women.
Women's shoes were similar to men's shoes in virtually every particular. Her legs and feet were covered with thick woolly socks and soft leather shoes.

Both men and women wore fur or woolen hats and cloaks in cold weather. The cloaks were fastened at the shoulder with a brooch or a pin.
Some evidence suggests that women's clothing was worn long. Images of women in picture stones and jewelry (right) show long, trailing skirts on female figures.

Trailing garments would get soiled while working around animals and would be awkward around the fire burning on the floor of every longhouse. Perhaps high status women wore such long clothing on special occasions. As is often the case with Viking material culture, we are reminded of the limits of the available evidence.

Reconstructed Buildings

Photo of the reconstructed buildings in
Norstead Viking Port of Trade Site, L'Anse aux Meadows, Northern Peninsula, Viking Trail, Newfoundland, Canada.

Saturday, September 24, 2011

Chemical Analysis on Textiles from the Viking Age

Through the use of modern chemical analysis it can be demonstrated that certain plants, chemical coloring agents, and classes of colorants were known and used on textiles from the Viking Age.

Based on chemical analyses of actual wool textiles, the following plants were more or less certainly used to dye wool textiles of the Viking Age.
  • Galium boreale (northern bedstraw)
  • Isatis tinctoria L. (woad)
  • Juglans regia (English walnut)
  • Rubia tinctorium L. (madder)
  • Xanthoria parietina (common yellow wall-lichen, also called shore lichen)
  • at least one lichen that yields purples, possibly from Ochrolechia tartarea
Based on chemical analyses of actual imported silk textiles, the following dyestuffs were more or less certainly used to dye imported silk textiles available in the Viking Age.
  • Kermes vermilio (a red Old World bug dye)
  • Reseda luteola (weld)
  • Rubia tinctorium L. (madder)
  • indigotin from woad or indigo
  • a lichen purple, possibly from Rocella tinctoris
The following additional plants were most likely used to dye textiles of the Viking Age. Either they sport appropriate chemical proportions of the colorants listed below, or they have been found in Viking Age archaeological contexts suggesting use as dyestuffs.
  • Calluna vulgaris L. (heather)
  • Diphasium complanatum (also called Lycopodium complanatum, a type of clubmoss probably used as a mordant due to its aluminum content)
  • Genista tinctoria L. (broom)
  • Reseda luteola L. (weld)
The following unidentified colorants were definitely used to dye textiles of the Viking Age.
  • "Yellow X" (see below)
And for the chemists among you, the following chemical colorants were definitely used to dye textiles of the Viking Age.
  • Alizarin
  • Flavone (on silk)
  • Indigotin
  • Luteolin
  • Pseudopurpurin
  • Purpurin
The following mordants are fairly certain to have been used to dye textiles of the Viking Age.
  • alum
  • copper (from bronze dyepots)
  • iron
  • tannin (possibly from elm bark, Alnus glutinosa)

Colors on Wool

Wool, the chief textile fiber of the Viking Age, was available in white as well as many different natural shades of browns and greys. Such shades could be and often were spun and woven without ever being dyed. Wool dyes very easily, though, and many finds of wool from the Viking Age were dyed in once-bright colors. Sometimes a dyer might use a naturally pigmented wool rather than a white one.

A report on the analysis of 220 samples of Viking Age textiles mentions 90 samples which yielded evidence of dyes. The samples come from Dublin, Jorvík, and 19 sites in Norway and Denmark; the dyes mentioned are red from madder or bedstraw; a purple derived from lichens; our mysterious yellow X [from an unidentified plant]; and a colorant identified as indigotin, almost certainly derived from woad. The insect dye kermes has also been found, and luteolin, presumably from weld, but only on imported silks. (Walton 1988b, 17)

Yellow X is still unknown. Chemical testing has eliminated 25 possible dyestuffs, including weld, broom, buckthorn, heather, chamomile, and saffron (see Walton 1988a for a complete list of dyestuffs tested).
Blended colors are also represented. Indigotin was used in conjunction with other dyes to produce several purples (with madder) and a green (with the unidentified yellow). Madder and lichen used in conjunction yielded a red-violet result (Walton 1988, 18, figure 9). Some evidence of brown from walnut shells has also been found, as well as one or two pieces that were intentionally dyed very dark brownish-black with walnut shells and iron (Hägg 1984, 289).

The chemical evidence of textiles from several different sites seems to point to a preponderance of particular colors appearing in particular areas: reds in the Danelaw, purples in Ireland, and blues and greens in Scandinavia proper (Walton 1988, 18). This seeming preference could of course be explained by any number of variables--availability of dyestuffs, the differing site climates, or the sheer vagaries of archaeological discovery. However, although it is carefully hedged, there is a hypothesis in the scientific world that this might possibly reflect regional color preferences rather than archaeochemical factors. It is pleasant to think that this sort of "Viking heraldry" might have been practiced.


Colors on Linens

Linen does not take most historic dyes readily, even when a mordant is used. Accordingly, linen was often bleached or left its natural color (grey if dew-retted, straw if water-retted). Substantive dyes such as woad, however, are fairly successful; accordingly, blue linen may have been more common than we know. There are a few examples of woad- and madder-dyed linens from Birka.


Colors on Silks

Imported silks may have gotten their colors from plants or other materials not available in northwestern Europe, such as indigo or Tyrian ("royal") purple. No further consideration is given to this issue in this article.




Friday, September 23, 2011

Weaving Techniques


Recreated Viking Loom

The adoption of textile weaving techniques in Scandinavia only occurred in the Bronze Age, relatively late in the scheme of human development (Bender Jørgensen, 116). Nevertheless, as is evident in the remains from Migration and Viking Age burials, the art caught hold rapidly and took many elaborate forms

Decorative textile embroider of the Viking Age were composed not of embroidery but of wool-on-linen tapestry weaves. The same is true for household furnishings such as pillowcases, cushion covers, and tablecloths; all the evidence points to a strong tradition of decorative polychrome mixed-fiber weaving rather than one of needle-worked surface ornamentation.

Embroidery wasn't really adopted by the Vikings until the first half of the ninth century. At that point the pervasive influence of the foreign cultures with which the Vikings intermingled so freely began to assert itself in both technological and art-historical ways. In textile and clothing ornamentation, the Vikings began half-heartedly to imitate their neighbors at that time. Two distinctive embroidery styles emerged, a style influenced by the lands to the west (represented mostly by finds at Bjerringhøj and Jorvík) and a style influenced by the lands to the east (represented by finds at Birka and Valsgärde).

Loom weights

Also in the ninth century, the eastern-influenced style of embroidery was on the rise. This style, represented at Birka in Sweden, was more likely Byzantine, or Slavic in origin. Like other forms of eastern Viking ornament, it depended heavily on silver wire or thread for its decorative effect. In fact, eastern Viking embroidery (more properly, "textile surface decoration") involved only one or two techniques which are likely to have been worked with a needle, i.e., stemstitch, surface couching, and possibly some forms of ösenstich (mesh stitch), of which several varieties have been identified.