Page 3: Illustration of the life of Saint Aubin d´Angers.
Fragmentary manuscript composed of 14 paintings illustrating different episodes in the life of Saint Aubin (c. 550), who was successively monk, abbot and bishop of Angers. These episodes are taken from the biography of the saint written by Venance Fortunat and from an anonymous collection of posthumous miracles composed in the abbey of Saint-Aubin in Angers in the 11th century. Click here to view the manuscript.
Page 11: Cotton Tiberius B. V, Part 1, f.40v, A ship, with tower and a serpent head
The Viking warship stands as a quintessential icon of the early medieval Scandinavian era. Renowned for their exquisite craftsmanship and elegantly curved lines, these ships are not just remnants of the past but are vibrant testimonies to the central role they played in the lives of the Vikings. Through the meticulous study of ship archaeology and various historical sources, it has become evident that the Vikings’ connection to the maritime landscapes was profound, influencing both their peaceful trades and warfare strategies. Click here for more information.
Page 15
Building The Tower of Babel
The Tower of Babel is one of history’s most intriguing tales, woven into the rich tapestry of human endeavor and divine intervention as described in the Book of Genesis. This legendary edifice, purportedly constructed with the lofty ambition of reaching the heavens, has captivated scholars, theologians, and historians alike. Here, we delve into the enigmatic story of the Tower of Babel, exploring its biblical roots, historical implications, and the archaeological findings that offer a glimpse into its reality.
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Drawing by Pierre de Langtoft,
born in the 13th century and died c. 1307, was an Anglo-Norman historian and chronicler.
Originally from Langtoft, East Yorkshire, Pierre de Langtoft was a canon of the Augustinian priory at Bridlington. Written in twelve syllables, his Chronicle tells the story of the legendary founding of Britain by Brutus until the death of Edward I in 1307.
Page 23
Salerno Ivory Plaque depicting Cain and Abel from the Old Testament Cycle
The story of Cain and Abel is depicted in the ivory plaque from the Salerno Cathedral (ca. 1084) on display in the Louvre Museum in Paris, France. The Sacrifice of Cain and Abel (L) and Cain slaying Abel (R) are depicted in the plaque.
– The Salerno Ivories is a collection of Biblical ivory plaques from around the 11th or 12th century that contain elements of Early Christian, Byzantine, and Islamic art as well as influences from Western Romanesque and Anglo-Saxon art.
https://www.jstor.org/stable/i40068860
https://en.wikipedia.org/wiki/Salerno_Ivories#cite_ref-:63_1-3
Page 26
Game pieces of the Lewis chessmen hoard
The game pieces of the Lewis chessmen hoard consist of ninety-three game pieces of the Lewis chessmen found on the Isle of Lewis in the Outer Hebrides of Scotland. Medieval in origin, they were first exhibited in Edinburgh in 1831, but it is unclear how much earlier they had been discovered. The hoard comprised seventy-eight distinctive chess pieces and fifteen other non-chess pieces, nearly all carved from walrus tusk ivory, and they are now displayed at the British Museum in London and National Museums Scotland in Edinburgh.
https://www.britishmuseum.org/collection/object/H_1831-1101-85
https://en.wikipedia.org/wiki/Game_pieces_of_the_Lewis_chessmen_hoard
Page 30
An angel locking the door of Hell
Throughout medieval England, the concept of the Hellmouth, symbolized by a serpent’s gaping jaws, emerged as a powerful visual representation of damnation. Rooted in the Hellmouth tradition that dates back to Anglo-Saxon times, this imagery captured the horror and finality of hell. One of the most famous depictions of this concept can be found in the Winchester Psalter, a manuscript from the 12th century. Here, an angel is portrayed sealing the gates of hell, emphasizing the inescapable nature of the abyss and the clear divide between Heaven and hell.
Twelve manuscripts from the 12th to 13th centuries are known of the so-called Oxford Psalter, based on the Gallicanum version, a translation compiled in England. All have an English connection. The Winchester Psalter, with an extensive cycle of images, is the most splendid copy of these English manuscripts.
Page 33
Animal head-post from the Oseburg ship burial, 9th century Artist
Page 37
Oseberg Ship
Discovering the Oseberg Ship: A Window into Viking Age Splendor
In the serene landscapes of Norway, the year 1904 marked the unveiling of an extraordinary archaeological treasure at Oseberg. Here, experts uncovered a Viking ship of exceptional preservation, offering a rare glimpse into the rich cultural fabric of the Viking Age. This discovery is not just a mere relic; it serves as a portal into the lives of the Norse seafarers, showcasing the opulence and the intricate societal structures of the era.
The Oseberg Ship: A Pristine Testament to Viking Craftsmanship
The Oseberg ship stands out for its remarkable state of preservation and the intricate craftsmanship it displays. Constructed with expert precision, the boat is a testament to the advanced maritime technology of the Vikings. The vessel’s elaborate wood carvings and robust structure highlight the sophisticated artistry and engineering prowess that were hallmarks of Viking shipbuilding.
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Long Blade Spear
Page 47
Picture Stone from Hunninge at Klinte
Exploring the Enigmatic Hunninge Picture Stone from Klinte
The Hunninge Picture Stone, nestled in the scenic region of Klinte, stands as a remarkable relic of the 8th and 9th centuries. Renowned for its exceptional preservation and intricate depictions, this artifact offers a fascinating glimpse into its era’s artistic and cultural practices.
Hunninge at Klinte
Page 53
Bronze Plaque, from Oland
A warrior is represented on a small bronze plaque dug up on the island of Oland. We see a helmet formed of bands of somewhat similar appearance, and the sword he bears in his hand is a sword of the peculiar type associated with these peculiar relics.
Page 57
Viking Helmet
During the Viking age, helmets were typically reasonably simple: a bowl with a prominent nose guard, as shown in the photo of a reproduction helmet to the right. Contrary to popular belief, there is little evidence that Viking-age helmets ever had horns.
Page 69
Pitney Brooch
The Pitney brooch was found at Pitney in Somerset, England. An animal and a snake entwined in a fight. Dated to about the year 1000
Dished gilt copper-alloy disc brooch, Urnes style. Within a scalloped border, the convex surface of the circular brooch bears an openwork design of a coiled, ribbon animal in combat with a snake. The head has a pronounced lentoid eye and an S-shaped lappet on the upper jaw; a second lappet projects from the neck. The creature bites its body, composed of a plain and a beaded band, forming a heart-shaped loop. It has spiral hips; the sharply angled foreleg terminates in a three-toed foot, and the hind leg divides into two tendrils, the longer one interlacing with the body to terminate in a foliate trefoil. A snake’s head with two prominent eyes, seen above, bites the animal’s neck. Its thin body, with one tendril offshoot, interlaces with that of the animal and ends in two scrolled tendrils. The reverse of the brooch is also gilded, with the remains of the hinge and catch-plate for the pin, which is now lost.
https://www.britishmuseum.org/collection/object/H_1979-1101-1
Page 77
Anglo-Saxon Claw Glass Beaker
Page 83
Guthlac parts from his fellow Warriors
Detail from the Guthlac Roll, 14th century. The story of Saint Guthlac is told pictorially in the Guthlac Roll, a set of detailed illustrations; it is kept in the British Library.
Page 85
Sources Pending
Page 97
Anglo-Saxon ‘Clasped Hands’ shilling
https://www.britnumsoc.org/images/PDFs/BNJ_2017/03_Woods_CH_1843.pdf
Page 103
Sources Pending
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Sources Pending
Page 121
Sigurðr slaying Fafnir
Carving from Hylestad Stave Church doorway
The carvings show several scenes from the legend of Sigurð Fáfnir’s bane.
The Hylestad Stave Church was in Hylestad (now Valle municipality), Setesdal district, Norway.
The church was estimated to have been built in the late 12th to the early 13th century and was demolished in the 17th century. Some intricate wood carvings from the church doorway were saved and incorporated into other buildings. They are now on display at the Museum of Cultural History in Oslo.
Page 127
Odin on Horse Sleipnir
The Norse god Odin on his horse Sleipnir is featured on the Tjängvide image stone in Valhalla. The stone can also depict a killed warrior on his way to Valhalla, greeted by Valkyries with horn goblets in their hands.
Sleipnir is the eight-legged horse ridden primarily by the god Odin in Norse mythology. He is the son of the god Loki (in the form of a mare) and the stallion Svadilfari, who belonged to the jötunn that built the walls of Asgard.
Page 131
Golden finger ring
Viking, 900 – 1100 AD. Slightly oval ring with tapered ring band and surrounding triangular punch decoration. Diameter 24 mm, weight 17.5 g.
page 135. On Sasanian finds in Britain.
Page 137
Vale of York Hoard Cup
The Vale of York Hoard cup is a Frankish silver cup discovered in 2007 in a Viking hoard in North Yorkshire. It is decorated with six roundels, each containing an animal running in front of a tree or bush, and is similar to the Halton Moor cup in the British Museum. Both cups are thought to have been made in the mid-ninth century by the same Carolingian workshop.
https://teachinghistory100.org/objects/about_the_object/viking_treasure
Page 141
Bildsten från Sanda, Gotland
Sune Ambrosiani found the upper part in 1902 in the churchyard of Sanda Church (Nordin 1903, 146). Lindqvist (1942, 110) guessed that it was found during the construction of a grave. In 1956, the lower part was found on the church’s floor during restorations.
The upper part is broken off almost straight under the central whirl motif. The lower part is lighter in color, the stone seems harder, and it has a much smoother surface, probably because it has been walked on on the church’s floor. On the lower right side, there is a vertical groove, possibly from later medieval activity.
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Pending Sources
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Pending Sources
Page 161
Sigurd and Regin forging the sword
Sigurd holding the mended sword. Sigurd, described as one of the best swordsmen, was urged by Regin to seek Fafnir, the dragon’s treasure. Regin then forged a sword with Sigurd at his side, assisting by keeping the fire going and providing water to cool the blade when needed. When the sword was completed, they named it Gram. Sigurd tested the sword by striking it upon Regin’s shield, which had a picture of Fafnir engraved. The blade broke, which prompted Regin to forge another sword out of the broken pieces of the first Gram. When it was completed, Sigurd tested the blade once again on the shield with Fafnir’s image, and this time, it cut through the shield and also cut off the horn of the anvil.
https://warfarewest.x10host.com/12/Sigurd_and_Regin_forge_the_sword_Gram.htm
Page 169
Pending Sources
Wood Carving of Níðhöggr
Page 176
Níðhöggr is a dragon who gnaws at the world tree’s root, Yggdrasil. In historical Viking society, níð was a term for a social stigma, implying the loss of honor and the status of a villain. Thus, its name might refer to its role as a horrific monster in chewing the corpses of the inhabitants of Náströnd: those guilty of murder, adultery, and oath-breaking.
Page 182
Game pieces of the Lewis chessmen hoard
Page 189
Carving on the Urnes Stave Church
The Urnes style is the last phase of Viking art. It takes its name from the remarkable carved wooden doors of the stave church at Urnes, Norway. The style is a refinement of the Ringerike style and depends upon the interplay of gracefully curving lines for its effect.
The animals are still curvaceous, and one or more snakes are included in the quadrupeds. The spiral hip is still used but is not as large as in the Mammen and Ringerike styles. The animals have large almond-shaped eyes and often bite one another.
The Urnes style was often used on runic stones when the runic inscription was carried within the animal’s body.
Page 195
Viking, brooch with decoration, Jellinge, silver, circa 900 AD
Page 199
The Sutton hoo helmet
This elaborate and highly ornamented helmet is derivative of late Roman parade ground styles, but the closest contemporary parallels come from southern Sweden. Note the facing dragons’ heads meeting above the forehead and how the eye -and nose guards from elements of the applied animal decoration.
https://yalebooksblog.co.uk/2016/01/01/the-anglo-saxon-world-kings-and-early-christianity
Page 203
Sources Pending
Page 207
Hindsgavl Dagger
Flint and metal daggers in Scandinavia
Prehistoric daggers found in graves in Scandinavia and beyond have long been interpreted as weapons wielded by warriors, giving the whole period a rather belligerent flavour. In a radical re-interpretation, the author demonstrates that their use was most probably for the despatch of cattle or other livestock, and the dagger is thus the implement of sacrifice and the symbol of its office.
Page 213
A Northern European Viking sword with a pattern-welded blade
The double-edged blade has a slightly rounded point, and the upper two-thirds have flat fullers on both sides. The upper half of the blade is made of three strips of twisted Damascus with lateral edges, and the lower half is made of homogeneous steel.
Page 217
A hoard of silver & Arab coins from a Viking grave
Fylfot
Page 221
The Fylfot (meaning “four-footed”) is Mankind’s oldest and mightiest power symbol. It appears nearly worldwide in some form. There are thousands of variants of this mighty symbol in the Germanic Heathen tradition. It is commonly swirling in both clockwise and counterclockwise forms without any change in meaning.
Associated with fire and lightning, the Fylfot is particularly holy to Thor. It is a potent symbol of dynamic cosmic power and unstoppable swirling strength of the will, invoking his might & protection. This motif has frequently occurred throughout the lands of the wide-ranging Teutons since the early Bronze Age. It is prominent on cremation urns and carved memorial gravestones with early Runic inscriptions, seeking Thor’s protection in the afterlife.
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Page 241
Brooch in the Form of a Bird of Prey
This elegant bird brooch’s head and right leg are in the left profile, while its rounded body and flaring tail are presented frontally. The extended right-wing curves behind the tail. The edges of the neck, wings, tail, and the upper part of the leg are outlined with pseudo bearing. Nine stamped (punched?) crayfish decorate the tail. The position of the head, supported by the raised leg, indicates that the bird is sleeping.
Page 251
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Page 263
Viking silver cup from Jelling, 10th century
The cup was found in the huge double barrow where the heathen king Gorm the Old, founder of the Danish monarchy (c. 900–936), and his wife Thyra were buried side by side at Jelling, Jutland. According to heathen custom ,the corpses were laid in the royal grave upon pillows filled with down, with wax candles at their sides.
Page 283
Pending Sources
Page 289
Veggerslev Horse Brooch
Veggerslev Horse Brooch. 7th century AD. The original bronze brooch was found in East Jutland, Denmark. National Museum, Copenhagen, Denmark. Length 87mm
https://www.historicjewelleryreproduction.uk.com/product/veggerslev-horse-brooch/
Page 293
A Panotii
Marvels of the East England [Winchester?]; second quarter of 11th cent Language: Latin; Old English Source/Shelfmark: Cotton Tiberius B. V, Part 1, f.83v [RH Miniature] A panotii, with long ears wrapped around his arms. Described as men fifteen feet high and ten feet broad, with ears like winnowing fans, their bodies are milk-white. Image taken from Marvels of the East. Originally published/produced in England [Winchester?]; second quarter of 11th century.
https://www.bridgemanimages.com/en-US/noartistknown/a-panotii/nomedium/asset/3261560?offline=1
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Sources Pending
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The Gripsholm Stone Sö 179
The stone’s carvings are in the runestone style B-e-v (c. 1010-1050), which pertains to the Ringerike style and is contemporary with Pr 1 and Pr 2.
The inscription is not signed.
The granite stone is c. 2 m tall and 1,05 m wide (across the serpent’s tail).
Runic inscription
The rune text’s first part begins at the serpent’s head end. The second part is a single word positioned outside the rune ribbon at the top right corner of the stone. The third part continues where the first part ends.
https://jonaslaumarkussen.com/illustration/the-gripsholm-stone-so-179/
Page 327
Viking pewter disc brooch, 10th century
Viking cast pewter disc brooch from York. It is decorated in the Jellinge style with a backward-facing quadruped whose tongue extends and interlaces with its body and rear leg. Similar ones have been found in Norway, but this was probably made in York. From York Museum, 10th century
https://www.mediastorehouse.com/heritage-images/viking-pewter-disc-brooch-10th-century-14851640.html
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Sources Pending
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Page 368
Sutton Hoo Anglo-Saxon Belt Buckle
The Sutton Hoo Anglo-Saxon Belt Buckle, also known as the Great Gold Buckle, is a gold buckle that was discovered in a ship burial at the Sutton Hoo archaeological site in Suffolk, England. It is considered a masterpiece of medieval art and is now on display in the British Museum.
https://www.britishmuseum.org/collection/object/H_1939-1010-1
Page 372
Sources Pending
Page 390
The Kilnaruane High Cross
East face showing Daniel in the Lions pit and the sacrifice of Isaac.
The monastery at Moone in County Kildare was established by St. Palladius in the 5th century and dedicated to St. Columcille in the 6th century. The 10th-century granite cross is the second-tallest high cross in Ireland.
Last-surviving (fragmentary) standing cross in southwest Ireland: the Kilnaruane High Cross. Overlooking Bantry Bay atop a hill in west Cork, this monument is situated within a rectilinear earth enclosure among several stone fragments, including four corner posts of a tomb-shrine, two bullaun stones, and a perforated pivot-stone.
Page 407
Viking picture stone in Bunge, Gotland, Sweden
Page 411
Section of the Sutton Hoo Helmet
The Sutton Hoo helmet, a decorated Anglo-Saxon helmet discovered during the 1939 excavation of the Sutton Hoo ship burial, was buried around 625 AD. It is believed to have been the helmet of King Raedwald, for whom its elaborate decoration may have given it a secondary function almost akin to a crown.
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Sources Pending
Page 422
Monasterboices High Crosses and Monastic Site
Muiredach’s High Cross is a high cross from the 10th or possibly 9th century, located at the ruined monastic site of Monasterboice in County Louth, Ireland
The Duddo Stones
The Duddo Stones have stood on Grindon Rigg in Northumberland for at least 4000 years. Just below the Scottish border, the Cheviots sit due south, and the Lammermuir hills to the north.
The five stones (one resurrected in the early 1900s to add “completeness”) are local sandstone, each etched with deep and weathered water run-tracks.