Art Styles - Part 3; Insular Art

Art of the Anglo-Saxon and Vikings -

                 Part 3: Insular Art

-Dr Andrew Thompson

In Part 1 of this series we discussed the rudimentary decorative styles which were used by craftspeople throughout the Migration Period and "Viking Age" to decorate everyday objects, while, in Part 2, we discussed the origins and evolution of animal style art (glossed as Salin Style I and II) which dominates the sophisticated archaeological material of the Early Anglo-Saxon period in Britain, and of contemporaneous Germanic tribes across North and western Europe.   

While this evolution of so-called "Germanic" art had been taking place, so-called "Celtic" art had continued to flourish and evolve, in a degree of isolation, in Ireland and the fringes of Britain. Cross-fertilisation of art between the "Germanic" world and the Hiberno/Celtic/Brythonic one appears to have been limited, following the Western Roman Collapse and on into the 7th century. However, as the elite of the emerging Anglo-Saxon kingdoms in Britain converted to Christianity in the 7th century, strongly under the influence of Irish missionaries, a new cultural bridge was formed between these two very different artistic cultures. The result, in the 8th century, would be some of the most spectacular art in European history...

Art Styles - Part 2; Migration Animal Styles

Art of the Anglo-Saxon and Vikings -

     Part 2: Animal Styles of the Migration Period

-Dr Andrew Thompson 

In the previous chapter (link) we discussed a number of rudimentary decorative styles used throughout the Migration Period and Viking Ages by a range of north and western-European cultures. These styles represented efforts to personalize or embellish usually more every-day items, by non-elite craftspeople. In contrast, the more sophisticated art styles, used and developed by generations of elite, specialist artisans, have been the subject of more study. From the Migration Period through into the Viking Age, discussion of these sophisticated art styles is dominated by the so-called "animal styles", many of them quite abstract, which set apart the art of these periods from the more classical, or Romance artistic trends which dominated European fashions both before and after.

To some extent, these artistic styles were confined to particular crafts or materials, but by no means always, and while, for the sake of avoidance of embarrassing mistakes, many reenactor handbooks caution members against carrying decoration from one archaeological find to recreations in other materials, there is no doubt that extensive cross-fertilisation of artistic styles across different crafts and media did take place, especially moving into the Middle Anglo-Saxon period and Viking Ages.

This illustrated discussion of the various artistic styles of the period concerned, begins with the famous Animal Styles of the Migration Period. Springing principally from the material culture of southern Scandinavia and northern Germania during the late Iron Age, and the collision of their home-grown artistic styles with the prevalent decorative styles of the mid to late Roman Empire.  The fortunes of these artistic styles (themselves, at this time, almost exclusively focused on small portable, personal artworks and dress-items of metal and jewellery-work) would reflect the fortunes of the tribes who concieved them; flourishing, spreading, and diversifying, as the Western Roman Empire declined.  The styles which developed are so carefully applied, and distinct, that they can be used to confidently date archaeological finds.

As previously mentioned, it is not our intention, with this series, to advance the ever expanding, complex field of animal-art studies. For those wanting more authoritative, detailed analysis and discussion we recommend the references included at the end of each chapter. However, we hope that this series provides an accessible, entertaining and intelligible tour of the art these historic periods have to offer.

With the scene set, and taking a deep breath, let us dive into the typology of Migration-Age animal art.... 

The Dog

 The Dog

The dog (Canis lupus familiaris) has been the premier companion-species to man for many millennia. The wolf (Canis lupus) would seem to have been tamed roughly 15,000 years ago. Dogs act as guard-animals, aid in hunting and act as companions.
Dogs were much valued in early English and Scandinavian society...

STH 711

Sth711: Woden's Pommelcap

 Much attention has been given to the glittering gold and garnet work of the Staffordshire Hoard, but often, plainer items can be much more informative.

sth711 (nicknamed 'Dave' by conservators) is a fine example of this, foregoing gemstones in favour of fascinating images in cast relief.

What are the meanings of these images, and what can they tell us about the history of this piece, the hoard itself, and the people who buried it?

Nb. Observations herein are based on photographs and are intended to encourage debate. It is likely many of these observations have already been made by the team of conservators and historians working on the hoard, but given that, so far, little detailed analysis has been published for public perusal, hopefully this article will help encourage public interest in close analysis of the finds. 
 © Images in this article have been used with the kind permission of Birmingham Museums and are subject to strict copyright (1)

The Deer

The Deer : “Home is where the Hart is !”

CC Bill Ebesen

Heorot, meaning "Hall of the Hart" was the name given by King Hroðgar of Denmark to his great Mead-Hall. The Anglo-Saxon epic poem describes how the hero Beowulf comes to destroy the monster Grendel who has been plaguing Heorot. Was Heorot decorated with the antlers of a great red deer ? We shall never know but the stag had some considerable ritual significance to our ancestors. The famous Sutton-Hoo whetstone (click here) carries a terminal in the shape of a stag and stags are said to browse on the leaves of the World Tree in Norse Mythology.
In this article, the cultural significance of the deer, its history, etymology, and role in mythology is discussed.

The Horse

“Hwær cwom mearg? Hwær cwom mago?”

Where is the horse gone? Where the rider? (The Wanderer)

Both Anglo-Saxon and Scandinavian warriors, particularly nobles, loved their horses. They might prefer to fight on foot, swinging sword or axe with their men (unlike the Normans) but to own a horse meant status, rather like owning an expensive car does today. A king might direct a battle from the saddle but most of the valuable steeds would be led to the rear, safe from harm, before a battle. When asked to fight as cavalry in the early 11th century, ‘against their custom’, English warriors were so uncomfortable that they preferred flight. A mounted knight, isolated high in his saddle, cannot be one with his men. Perhaps it is this factor which led, following the Norman conquest, to the terrible widening of the social gulf betwixt noble and yeoman; a distance which had been relatively small in comparison in the egalitarian days prior to 1066.

Here I will discuss the horse and its place in pre-Conquest England.

The Boar

Animals feature significantly in early Germanic art and culture, often carrying a mythological or totemic connection to deities. So far in our series of articles on animals the importance of the raven, bear, and wolf have been discussed, but arguably the most significant animal to feature in finds from the Anglo-Saxon and Viking period is the boar.

In this article, the cultural significance of the boar, its history, etymology, and role in mythology is discussed. 

The Bear

The Germanic Folk respected the bear for its strength, ferocity and endurance. Viking Berserkers wore bear-skins to better emulate their totem. It is difficult for modern folk to square this with our ancestor’s addiction to the horrific blood-sport that was bear-baiting. As bears had long since become extinct in Britain, during the Middle Ages, bears were imported from Europe and bred in captivity for this bloody purpose. In trying to understand the world of our ancestors, we must not shrink away these realities. The Bear is certainly worthy of study.

The Wolf

According to Norse Mythology, Óðinn All-föðr had two wolf-companions called Geri and Freki. As with his two ravens, the wolves indicate the God’s role as patron of Death and Battles. Conversely, according to the Eddas, Óðinn will, at Ragnarøkkr, be swallowed by the great wolf Fenrir, who had ages before bitten off the right hand of the war-god Tyr. Prior to this Fenrir’s two offspring, Sköll and Hati will devour the the Sun and the Moon, plunging the world into darkness.
The Nordic folk would have been well acquainted with the wolf and it is thus no surprise that it is so integral to their mythology.

The Raven

According to Norse Mythology, Óðinn All-föðr had in his service two ravens, whose names were were Huginn (Thought) and Muninn (Memory). Everyday they would fly around Miðgarðr in search of information. At the end of their journey across the world, they would perch on his shoulders and whisper into his ears all that they had seen and heard.
With its striking blue-black plumage, the Raven was a potent symbol to the folk of North-West Europe, and depictions of these animals can be found on many artifacts. In this article, the significance of the Raven is discussed.

The Stag on the Sceptre

Sutton-Hoo Sceptre

Animal imagery is common amongst early Germanic artefacts, particularly from the Pagan period. Often such imagery is associated with the gods, and is believed to have often been included on items such as helmets (especially Anglo-Saxon examples) to provide the wearer with that god's protection. Boars, dragons and serpents are particularly common, but occasionally, items arise with imagery that is not so familiar.

Amongst the royal East-Anglan treasure of Sutton-Hoo, however, was a curious item unique amongst Anglo-Saxon finds; a 1/2 meter tall whetstone sceptre, with finely-carved faces at the ends and the twisted-wire ring on which stands the figure of a stag cast in bronze.This is nicely modelled, complete with a realistic set of antlers.
    Why a stag ?