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The Brussels Cross or Drahmal Cross is an Anglo-Saxon cross-reliquary of the early 11th century, now in the treasury of the St. Michael and St. Gudula Cathedral, Brussels, that bears engraved images and an inscription in Old English.
Badly damaged and with its once jewelled front missing, the Brussels Cross takes the form of a large piece of cross-shaped wood covered with a silver plate bearing medallions engraved with the evangelists' symbols at the end of the arms and an Agnus Dei at the centre. Across the arms the artist has inscribed his name in large Latin letters: + Drahmal me worhte (‘Drahmal made me’). An inscription around the edges reads: + Rod is min nama; geo ic ricne Cyning bær byfigynde, blod bestemed (‘Rood is my name. Trembling once, I bore a powerful king, made wet with blood’). These lines bear a close relationship to ll. 44 and 48 in the Old English poem, 'The Dream of the Rood'. This is followed by a common form of dedication: þas rod het Æþmær wyrican and Aðelwold hys beroþo[r] Criste to lofe for Ælfrices saule hyra beroþor (‘Æthlmær and Athelwold, his brother, ordered this rood to be made so as to praise Christ for the soul of Ælfric, their brother’). The Anglo-Saxon inscription is contained on a silver strip which runs around the edges of the cross. It is written not in runes, but in Roman letters, in a curious mixture of Latin-style majuscules and minuscules. The letters 'NE' of ricne, 'NG' of cyning and 'ME' of bestemed are written as ligatures. Although it has not proved possible to identify with any certainty the persons named in the inscription, the text is in late West-Saxon which would ascribe it to the late tenth century or perhaps later.
The Brussels Cross and its two-line inscription in Anglo-Saxon verse were first brought to public attention in modern times by H. Logeman in 1891. Traditionally reputed to contain the largest extant fragments of the True Cross, it has been preserved at the Cathedral of SS. Michel and Gudule since the middle of the seventeenth century. The cross is 46.5 by 28 cm. (18.3 by 11 inches) in size. The front was once covered by a jewelled gold plate, probably taken away by French soldiers under Dumouriez in 1793; the back is still covered with silver, with the symbols of the four evangelists at the ends of the four arms and the symbol of the Agnus Dei in the centre. The earlier Lothair Cross is a comparable work that is still intact. The name of the craftsman, Drahmal, is probably Norse and from the northern England, but nothing more can be deduced about him. Judging from the language of the inscription as well as from the epigraphy and the style of the images, the cross most likely dates from the beginning of the 11th century. The images are in a "stolid" version of the early "Winchester style". [1]
The Brussels Cross was created in England, but the three brothers, Ælfric, Æthelmær and Æthelwold, cited in the prose part of the inscription, have never been positively identified. The language is a fairly regular late West-Saxon, with one Anglian form, bestemed, and a few irregular spellings, such as byfigynde (with 'y' for 'e' in the ending) in the verse, wyrican and beroþor (both with an intrusive vowel) in the prose. The form bestemed (for West-Saxon bestiemed, bestymed) does not necessarily indicate a northern origin for the inscription; it is usually explained as a traditional spelling taken over from older poetic vocabulary.
Some scholars have identified Ælfric, Æthelmær and Æthelwold with Africus, Agelmarus and Agelwardus of Worcester around the year 1007. Others have suggested that the Æthelmær is the well-known patron of Ælfric, who founded the abbey at Eynsham in 1005, but offer no identification of the other two names. It is possible, furthermore, that the holy relic which forms part of the present cross is the same as the lignum Domini ('Wood of the Lord') sent by Pope Marinus to King Alfred in 883 or 885. None of these possibilities is susceptible to proof. The Belgian scholar Simone D’Ardenne offers the most plausible analysis. She favours the identification of the relic with Alfred’s lignum Domini ('Wood of the Lord'), and she has studied all the available evidence to present a highly plausible account of its later history. According to her, the relic remained in the hands of the West-Saxon royal family until near the end of the tenth century, when it left the possession of the direct line. Its new owners had it enclosed in a reliquary (the present cross) and presented it to Westminster Abbey. It later found its way to the Netherlands, probably during the reign of the last Norman King of England, Stephen (1135–1154), when numbers of Flemish soldiers were in England.
Ælfheah, more commonly known today as Alphege, was an Anglo-Saxon Bishop of Winchester, later Archbishop of Canterbury. He became an anchorite before being elected abbot of Bath Abbey. His reputation for piety and sanctity led to his promotion to the episcopate and, eventually, to his becoming archbishop. Ælfheah furthered the cult of Dunstan and also encouraged learning. He was captured by Viking raiders in 1011 during the siege of Canterbury and killed by them the following year after refusing to allow himself to be ransomed. Ælfheah was canonised as a saint in 1078. Thomas Becket, a later Archbishop of Canterbury, prayed to Ælfheah just before his murder in Canterbury Cathedral in 1170.
Old English literature refers to poetry and prose written in Old English in early medieval England, from the 7th century to the decades after the Norman Conquest of 1066, a period often termed Anglo-Saxon England. The 7th-century work Cædmon's Hymn is often considered as the oldest surviving poem in English, as it appears in an 8th-century copy of Bede's text, the Ecclesiastical History of the English People. Poetry written in the mid 12th century represents some of the latest post-Norman examples of Old English. Adherence to the grammatical rules of Old English is largely inconsistent in 12th-century work, and by the 13th century the grammar and syntax of Old English had almost completely deteriorated, giving way to the much larger Middle English corpus of literature.
Æthelweard was an ealdorman and the author of a Latin version of the Anglo-Saxon Chronicle known as the Chronicon Æthelweardi. He was a kinsman of the royal family, being a descendant of the Anglo-Saxon King Æthelred I of Wessex, the elder brother of Alfred the Great.
TheDream of the Rood is one of the Christian poems in the corpus of Old English literature and an example of the genre of dream poetry. Like most Old English poetry, it is written in alliterative verse. The word Rood is derived from the Old English word rōd 'pole', or more specifically 'crucifix'. Preserved in the tenth-century Vercelli Book, the poem may be as old as the eighth-century Ruthwell Cross, and is considered one of the oldest extant works of Old English literature.
Ælfric of Eynsham was an English abbot and a student of Æthelwold of Winchester, and a consummate, prolific writer in Old English of hagiography, homilies, biblical commentaries, and other genres. He is also known variously as Ælfric the Grammarian, Ælfric of Cerne, and Ælfric the Homilist. In the view of Peter Hunter Blair, he was "a man comparable both in the quantity of his writings and in the quality of his mind even with Bede himself." According to Claudio Leonardi, he "represented the highest pinnacle of Benedictine reform and Anglo-Saxon literature".
The Alfred Jewel is a piece of Anglo-Saxon goldsmithing work made of enamel and quartz enclosed in gold. It was discovered in 1693, in North Petherton, Somerset, England and is now one of the most popular exhibits at the Ashmolean Museum in Oxford. It has been dated to the late 9th century, in the reign of Alfred the Great, and is inscribed "AELFRED MEC HEHT GEWYRCAN", meaning "Alfred ordered me made". The jewel was once attached to a rod, probably of wood, at its base. After decades of scholarly discussion, it is now "generally accepted" that the jewel's function was to be the handle for a pointer stick for following words when reading a book. It is an exceptional and unusual example of Anglo-Saxon jewellery.
The Cathedral of St. Michael and St. Gudula, usually shortened to the Cathedral of St. Gudula or St. Gudula by locals, is a medieval Catholic cathedral in central Brussels, Belgium. It is dedicated to Saint Michael and Saint Gudula, the patron saints of the City of Brussels, and is considered to be one of the finest examples of Brabantine Gothic architecture.
West Saxon is the term applied to the two different dialects Early West Saxon and Late West Saxon with West Saxon being one of the four distinct regional dialects of Old English. The three others were Kentish, Mercian and Northumbrian. West Saxon was the language of the kingdom of Wessex, and was the basis for successive widely used literary forms of Old English: the Early West Saxon of Alfred the Great's time, and the Late West Saxon of the late 10th and 11th centuries. Due to the Saxons' establishment as a politically dominant force in the Old English period, the West Saxon dialects became the strongest dialects in Old English manuscript writing.
Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of England, whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.
The Ruthwell Cross is a stone Anglo-Saxon cross probably dating from the 8th century, when the village of Ruthwell, now in Scotland, was part of the Anglo-Saxon Kingdom of Northumbria.
A crux gemmata is a form of cross typical of Early Christian and Early Medieval art, where the cross, or at least its front side, is principally decorated with jewels. In an actual cross, rather than a painted image of one, the reverse side often has engraved images of the Crucifixion of Jesus or other subjects.
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The Seax of Beagnoth is a 10th-century Anglo-Saxon seax. It was found in the inland estuary of the Thames in 1857, and is now at the British Museum in London. It is a prestige weapon, decorated with elaborate patterns of inlaid copper, brass and silver wire. On one side of the blade is the only known complete inscription of the twenty-eight letter Anglo-Saxon runic alphabet, as well as the name "Beagnoth" in runic letters. It is thought that the runic alphabet had a magical function, and that the name Beagnoth is that of either the owner of the weapon or the smith who forged it. Although many Anglo-Saxon and Viking swords and knives have inscriptions in the Latin alphabet on their blades, or have runic inscriptions on the hilt or scabbard, the Seax of Beagnoth is one of only a handful of finds with a runic inscription on its blade.
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The English Benedictine Reform or Monastic Reform of the English church in the late tenth century was a religious and intellectual movement in the later Anglo-Saxon period. In the mid-tenth century almost all monasteries were staffed by secular clergy, who were often married. The reformers sought to replace them with celibate contemplative monks following the Rule of Saint Benedict. The movement was inspired by Continental monastic reforms, and the leading figures were Dunstan, Archbishop of Canterbury, Æthelwold, Bishop of Winchester, and Oswald, Archbishop of York.
The poetic text of the Brussels Cross is edited by Martin Foys and annotated with digital images of its engraved inscriptions, in the Old English Poetry in Facsimile Project: https://oepoetryfacsimile.org/?document=5089&document=10309