Tag: metal

Craft Fair: Metalworking

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Metalwork during the European medieval times was generally considered to be crude and warlike. Much of media portrays medieval times as violent and barbaric by focusing on weapons and warrior culture. However, these works do not accurately represent the breadth of Anglo-Saxon metallurgy and artistry, and the significant degree of advancement Anglo-Saxon metalsmith possessed. That is why, when constructing stations for the Early Medieval Crafts Fair, we felt it important to try to portray a variety of metalworkings, despite the limitations of appropriate resources. Many of the metalworkings presented give insight on Anglo-Saxon culture and domestic life.  We can better understand their history by examining why their knives are so well built, or why brooches came in such a variety. Metalworking leave a trail of clues that help piece together a history that is not well documented through texts.

Our first idea was to attempt to procure some more authentic materials for people to feel and view; we understood that due to the nature of our station it would be difficult to make an interactive station. We approached both Carleton’s geology department as well as Carleton’s local metalworking staff in the art department to ask about getting a sample of bog iron, the rock used by Anglo-Saxons for most of their iron ore, and a sample piece of jewelry like a brooch or a knife, respectively. The geology department unfortunately did not have a sample of the rock that we needed, and due to safety requirements surrounding the metalworking studio, we were unable to recreate any objects.

So we fell back on an approach that was more functional and didactic in nature. Namely, we created “ingots” from playdough and provided instructions to “hammer” them into shape (See Further Reading, Leahy). The playdough was created by the ceramics group. 

Making the playdough “ingot”

Demonstrating pinching the sides of the playdough to create a sharper shape

A final ingot

Our job was mostly to figure out how to use the playdough that we had and make sure it was ready for each visitor. Each block of playdough would be pounded into a rectangle and pinched into a sharper, squarer shape, to give a better tactile feeling to the substance more like metal as opposed to a non-Newtonian fluid. We then found and printed out a few diagrams of Anglo-Saxon metalworking, and fairgoers could follow along with them while we would talk about various misconceptions and practices in early Medieval smithing.

The diagram given to fairgoers for spearhead making.

Unfortunately, we only could find good visual instructions for the making of a spearhead in this manner, which could have enforced the aforementioned stereotype of early medieval times and Anglo-Saxon metalworking. However, images of various finished metalworkings, such as brooches and other non-ferrous items, were presented so that participants could recreate their general shapes.

To aid in our teaching, we undertook the creation of a piece of “bog iron”, which was a rock repainted to give the orange/red appearance of actual bog iron. We took a rock, spray painted it with the appropriate color, and then to give it the appearance that it had been set in a bog, we tossed it in a garbage bag with some dirt. While its impact may have been small, it certainly helped as both a visual tool for describing the nature of Anglo-Saxon metalworking.

The rock before being spraypainted.

Spraypainting the rock

The rock, now tossed in dirt to give that out-of-the-ground feeling

The goal of our station was to educate people on Anglo-Saxon metalworking.  Although we were limited with playdough to use as our “ingots” we were able to get visitors to process the idea of molding things against their nature and facing resistance.  Additionally, our station was heavily supplemented with substantial lecture as well as various models of metalworking for participants to use as a visual aid. The most important part of the station was the background provided to the audience on Anglo-Saxon metalworking, which provided a better sense of history that unfortunately could not have been provided through craft, like it had in other stations. 

ORP: Cruciform Brooch

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THE OBJECT

The cruciform brooch I chose for my modeling and research paper was found in a cemetery at the West Stow site. Since brooches of a similar cruciform style were found in the same cemetery at West Stow and in other locations. Considering what has been discovered of other Anglo-Saxon grave goods, it is reasonable to assume this brooch accompanied a late Anglo-Saxon into the afterlife. Twelve brooches of the cruciform style were found in the cemetery, all made of a bronze alloy.[1] According to Stanley West, the brooch is typical of the Leeds Type V.f. and is a “remarkably successful, decorative piece, with a flowing, rounding design of masks and bird heads.”[2]

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ORP: Eriswell Girdle-Hangers

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This class focused very closely on material engagement as a way of understanding the culture and people of the past. Individually, we each chose a specific artifact to reconstruct either physically or digitally with the intent that focusing closely on a specific object and performing the steps of making a model would teach us about the process that the original makers of the objects would have experienced. I chose the 6th-century bronze girdle-hangers from the Eriswell cemetery in Suffolk for my reconstruction project. Through the process of researching and recreating the artifact, I learned not only details about how it was originally made but also how it served a wider culture of displaying one’s status and identity on their body in a visible manner.

 

Background

Beginning in the 5th-century, Anglo-Saxons buried their women with accessories and ornamentation to indicate who they were while alive. The growing inequality between the rich graves and poor graves throughout the 6th-century indicated changing power dynamics in society as individual families grew more powerful and wealthier than others. Styles of dress became an important vehicle through which to display one’s status, and regional styles of dress began to develop across Early Medieval England. A shared elite style of dress began to spread as well as contact between the powerful Anglo-Saxon families increased. Girdle-hangers were a part of this growing shared elite culture.

Girdle-hangers were a symbol of status that powerful women would have worn. The distinctive shape of these specific girdle-hangers was meant to resemble that of keys, signifying that the woman who wore them was the keeper of her household. These objects were discovered across England, from Little Eriswell on the eastern side to Cowdery’s Down in the west. It becomes evident through burial archaeology that the women, many of whom wore brooches and other jewelry in death, likely served as walking cultural symbols. Their regional-style dress made it instantly recognizable where they came from, and their level of finery indicated their place within society.

 

Reconstruction

My wooden model girdle-hangers

My reconstruction of the Eriswell girdle-hangers led me on an adventure in which I encountered many of the problems, complications, and limitations that the makers of the original girdle-hangers would have faced. When I began my reconstruction, I had planned to make a digital model with Agisoft Photoscan, but the program was unfortunately unable to orient the photos of the artifacts correctly. Lacking the technological prowess to fix this problem, I decided to make a physical model. Lacking the knowledge and ability to cast things out of bronze, I decided to make my models out of wood. Already I encountered some common problems with which any maker must contend: the limitations of my own set of skills and availability of my materials. These limitations would shape the form that my finished girdle-hangers would take.

Preliminary sketch-plan of my model girdle-hangers. I learned during the creation process that some of the measurements are actually wrong because I am bad at math.

The key shape sketched onto the plywood. Notice the “X” at the end of the key where I continued to modify the design right up until I cut the shapes out.

 

 

 

 

 

 

 

 

 

 

 

The key shapes and the band saw used to cut them

 

During my initial design process, I attempted to sketch out the exact dimensions of the girdle-hangers when I realized how little this would have mattered to the original makers. Exact measurements did not matter when it came to these objects. What really mattered was their distinctive key shape, since they had no actual functional purpose at all beyond sending a visible message. The designs I had made turned into a rough guide for the creation process, but by no means were they a step-by-step manual. I knew that when I began the process of making the models, I would need to mostly just think on my feet and, as before, allow my particular skill set and the materials available drive the project, which they did indeed. While making the models, I found myself constantly running into problems and reacting to them, adapting always to what my materials and tools would allow me to do.

One of the best insights I gained when making the girdle-hangers was the fact that each key must have been made either from two different pieces or had a transition cast in the metal. Halfway down the shaft of each key, they turn 90-degrees to fit onto the crossbar that holds the two keys together. This transition, either a twist or a seam, occurs on a part of the key that appears to be wrapped with bronze wire. It was my conclusion that the bronze wire served to hide the 90-degree transition from view. I came to this conclusion when attempting to recreate this part of the models; I chose the two-pieces approach, attaching an eye bolt 90-degrees to the broad side of the wooden key and wrapping them with string to strengthen the seam.

The end of the bronze girdle-hangers turned 90-degrees to the broad end of the key shafts, the transition wrapped in wire

The ends of my girdle-hangers, made of eye bolts turned 90-degrees to the broad end of the shafts and wrapped in string

 

 

 

 

 

 

 

 

 

 

 

 

While my process and the end results of my project were not perfect – from the materials and tools used to the processes that I created in my mind – creating these girdle-hangers helped me engage with the objects made centuries ago and allowed me to step into the shoes of the original makers to experience the limitations and complications that they experienced.

 

Further Reading

Kevin Leahy, Anglo-Saxon Crafts (Stroud: The History Press, 2010).

Robin Fleming, Britain After Rome (New York: Penguin Group, 2011).

Gale R. Owen-Crocker, “Dress and Identity,” in The Oxford Handbook of Anglo-Saxon Archaeology, ed. David A. Hinton, Sally Crawford, Helena Hamerow (Oxford University Press, 2011).

Christopher Scull, “Social Transactions, Gift Exchange, and Power in the Archaeology of the Fifth to Seventh Centuries,” in Hinton, Oxford Handbook.

Patricia Hutchinson, The Anglo-Saxon Cemetery at Little Eriswell, Suffolk (Proceedings of the Cambridge Antiquarian Society, 1966).