The dragonesque brooch is a distinctive type of Romano-British brooch made in Roman Britain between about 75 and 175 AD. [1] They have been found in graves and elsewhere, in recent years especially by metal-detectors, and were evidently a fairly affordable style; over 200 examples are now known. [2] The name comes from a supposed resemblance to a dragon, but Catherine Johns suggests that if any real animal was intended to be represented, the hare may be the most likely candidate. [3]
They have the form of a double-headed animal with a thin, flat S-shaped body, a head at each end, "large upstanding ears, and a curled snout", and a pin allowing them to be used for fastening clothes. The back is normally plain. [4] They are typically about 50 mm (2 in) long. They are in cast bronze (or at least a copper alloy), [5] and about two-thirds feature decoration in vitreous enamel, [6] now often mostly fallen away, which was a speciality of the pre-conquest Celtic art of Britain. In terms of style, they are regarded as Celtic rather than Roman or classical; they "express the continuing Celtic aesthetic in the provincial Roman mileu", despite being "Roman products that did not exist in the Celtic Iron Age" before the conquest. [7]
They are sometimes found in pairs, but with both examples facing in the same direction, [8] saving the need for a different mould but at the expense of symmetry. These were probably worn below the shoulders, perhaps mostly by women, and perhaps connected by a chain or cord. [9] The thickness of the pins, often square in section, suggests they were used to fasten clothing in thick, loosely-woven textiles; finer materials would have been damaged. [10]
Most are found incomplete, especially in the pins, where only the circle attachment may remain, or part of the shaft, or nothing. The enamel has very often fallen out, in whole or in part. Many bodies have broken into two or more pieces. Their original appearance would have been much brighter, the metal probably kept polished. [11] The style is "ever-popular on the antiquities market", [12] and often copied in modern craft jewellery.
Most examples have been found in the "military districts" or frontier region of what is now northern England, with (in 2012) over 75% of known examples from north of a line joining the rivers Severn and Humber. Some have come from modern Scotland, especially six from Trapain Law and some from Edinburgh, both north of Hadrian's Wall but south of the Antonine Wall, so briefly in Roman control during this period. The military base of Coria (Corbridge) in Northumberland has produced a number of finds. [14] The northern area where they are found, called Brigantia, was then the home of Britain's largest tribal confederation, the Brigantes, and some writers have connected them to the manufacture of the brooches, even attempting more precise localization. [15]
It has been suggested that enamel was more popular with the military, with finds from non-military sites, rural and probably "native", less likely to have it. [16] Like other popular styles of brooch, they may have been made by itinerant jewellers, or by fixed workshops with distribution and sales by others; or by a combination of these. [17]
Other types of Romano-British brooch with Celtic stylistic elements were popular in military contexts in the frontier area; [18] the Staffordshire Moorlands Pan is the best survival of a small group of larger trullae with Celtic-style enamel, and the names of forts on Hadrian's Wall in Latin, presumed to be soldiers' souvenirs. [19]
A few examples of the dragonesque brooch found in continental Europe are thought to have been carried there from Britain by their owners. [20]
Although the essential design remains constant, there are a variety of treatments, and schemes of classification have been made, some based on the enamel decoration, others on the metal shape. [21]
The champleve enamel decoration includes the full range of colours known at the time (more than in pre-conquest Celtic work), and the ornamental style is essentially Roman, with squares and lozenge shapes prominent. [22]
The brooches can be seen as part of wider changes in the Iron Age or Early Celtic art of Britain after the conquest. Large pieces of elite metalwork, with superb technical and artistic skill, like the gold Great Torc from Snettisham of about 70 BC, are no longer found. Instead there is a variety of much smaller pieces with "Celtic" decoration, above all brooches of several types, but also horse harness fittings, belt fittings, hair-pins, box and vessel mounts and handles, and the like, normally in bronze. These show a range of levels of technical skill and artistry. [23] Some of these, including brooches, [24] are traditional types of objects from the Iron Age, while others are new Roman forms. Dismissed as "trinkets" by some earlier historians, [25] this group have received increased attention over recent decades. [26]
The La Tène culture was a European Iron Age culture. It developed and flourished during the late Iron Age, succeeding the early Iron Age Hallstatt culture without any definite cultural break, under considerable Mediterranean influence from the Greeks in pre-Roman Gaul, the Etruscans, and the Golasecca culture, but whose artistic style nevertheless did not depend on those Mediterranean influences.
A torc, also spelled torq or torque, is a large rigid or stiff neck ring in metal, made either as a single piece or from strands twisted together. The great majority are open at the front, although some have hook and ring closures and a few have mortice and tenon locking catches to close them. Many seem designed for near-permanent wear and would have been difficult to remove.
A brooch is a decorative jewellery item designed to be attached to garments, often to fasten them together. It is usually made of metal, often silver or gold or some other material. Brooches are frequently decorated with enamel or with gemstones and may be solely for ornament or serve a practical function as a clothes fastener. The earliest known brooches are from the Bronze Age. As fashions in brooches changed rather quickly, they are important chronological indicators. In archaeology, ancient European brooches are usually referred to by the Latin term fibula.
The Tara Brooch is an Irish Celtic brooch, dated to the late-7th or early-8th century. It is of the pseudo-penannular type, and made from bronze, silver and gold. Its head consists of an intricately decorated circular ring, and overall, its front and reverse sides are equally decorated; each holds around 50 inserted cast panels packed with filigree. The brooch was constructed from numerous individually made pieces; all of the borders and its terminals contain multiple panels holding multi-coloured studs, interlace patterns, filigree, and Celtic spirals. The brooch is widely considered the most complex and ornate of its kind and would have been commissioned as a fastener for the cloak of a high-ranking cleric or as ceremonial insignia of high office for a High King of Ireland.
Celtic art is associated with the peoples known as Celts; those who spoke the Celtic languages in Europe from pre-history through to the modern period, as well as the art of ancient peoples whose language is uncertain, but have cultural and stylistic similarities with speakers of Celtic languages.
The ancient carnyx was a wind instrument used by the Celts during the Iron Age, between c. 200 BC and c. AD 200. It was a type of trumpet made of bronze with an elongated S shape, held so that the long straight central portion was vertical and the short mouthpiece end section and the much wider bell were horizontal in opposed directions. The bell was styled in the shape of the head of an open-mouthed boar or other animal.
A fibula is a brooch or pin for fastening garments, typically at the right shoulder. The fibula developed in a variety of shapes, but all were based on the safety-pin principle. Unlike most modern brooches, fibulae were not only decorative; they originally served a practical function: to fasten clothing for both sexes, such as dresses and cloaks.
An armilla was an armband awarded as a military decoration to soldiers of ancient Rome for conspicuous gallantry. Legionary (citizen) soldiers and non-commissioned officers below the rank of centurion were eligible for this award, but non-citizen soldiers were not. Unlike legionaries, auxiliary common soldiers did not receive individual decorations, though auxiliary officers did. However, a whole auxiliary regiment could be honoured by a title as an equivalent award, which in this case would be armillata, or be granted Roman citizenship en masse as a reward. This entitled an auxiliary regiment to add the appellation civium Romanorum to its list of honours.
The Broighter Gold or more correctly, the Broighter Hoard, is a hoard of gold artefacts from the Iron Age of the 1st century BC that were found in 1896 by Tom Nicholl and James Morrow on farmland near Limavady, Ireland. The hoard includes a 7-inch-long (18 cm) gold boat, a gold torc and bowl and some other jewellery.
The Winchester Hoard is a hoard of Iron Age gold found in a field in the Winchester area of Hampshire, England, in 2000, by a retired florist and amateur metal detectorist, Kevan Halls. It was declared treasure and valued at £350,000—the highest reward granted under the Treasure Act 1996 at that time.
The Celtic brooch, more properly called the penannular brooch, and its closely related type, the pseudo-penannular brooch, are types of brooch clothes fasteners, often rather large; penannular means formed as an incomplete ring. They are especially associated with the beginning of the Early Medieval period in Ireland and Britain, although they are found in other times and places—for example, forming part of traditional female dress in areas in modern North Africa.
The Waterloo Helmet is a pre-Roman Celtic bronze ceremonial horned helmet with repoussé decoration in the La Tène style, dating to circa 150–50 BC, that was found in 1868 in the River Thames by Waterloo Bridge in London, England. It is now on display at the British Museum in London.
The Meyrick Helmet is an Iron Age bronze peaked helmet, with La Tène style decoration, that is held at the British Museum in London. It is one of only four Iron Age helmets to have been discovered in Britain, the other three being the more famous Waterloo Helmet, the Canterbury Helmet and the North Bersted Warrior helmet. Unlike the Waterloo Helmet, which bears two cone-shaped horns, the Meyrick Helmet is hornless and appears to be based on a Roman model. Vincent Megaw, emeritus professor of archaeology at the University of Leicester, has conjectured that the helmet may have belonged to a British auxiliary fighting in the Roman army during the campaigns against the Brigantes in AD 71–74.
In the early Middle Ages, there were distinct material cultures evident in the different federations and kingdoms within what is now Scotland. Pictish art was the only uniquely Scottish medieval style; it can be seen in the extensive survival of carved stones, particularly in the north and east of the country, which hold a variety of recurring images and patterns. It can also be seen in elaborate metal work that largely survives in buried hoards. Irish-Scots art from the kingdom of Dál Riata suggests that it was one of the places, as a crossroads between cultures, where the Insular style developed.
Prehistoric art in Scotland is visual art created or found within the modern borders of Scotland, before the departure of the Romans from southern and central Britain in the early fifth century CE, which is usually seen as the beginning of the early historic or Medieval era. There is no clear definition of prehistoric art among scholars and objects that may involve creativity often lack a context that would allow them to be understood.
The Cordoba Treasure, or Tesoro de Córdoba in Spanish, is the name of a major Iron Age silver hoard found on the outskirts of the city of Córdoba, Spain in 1915. The entire treasure was purchased by the British Museum in 1932, where it has been on public display ever since.
The Breadalbane Brooch is a silver and gilt Celtic penannular brooch probably made in Ireland, but later altered and then found in Scotland. Probably dating to the 8th century, with 9th-century alterations, it is an intricately designed, silver-gilt dress fastener that is closely related to a select group of brooches that were produced in Ireland and Britain during the 'golden age' of late Celtic art. The brooch has been in the British Museum since 1919 and is normally on display.
Scottish jewellery is jewellery created in Scotland or in a style associated with Scotland, which today often takes the form of the Celtic style. It is often characterised by being inspired by nature, Scandinavian mythology, and Celtic knot patterns. Jewellery has a history in Scotland dating back to at least the Iron Age.
Anglo-Saxon brooches are a large group of decorative brooches found in England from the fifth to the eleventh centuries. In the early Anglo-Saxon era, there were two main categories of brooch: the long (bow) brooch and the circular (disc) brooch. The long brooch category includes cruciform, square-headed, radiate-headed, and small-long brooch brooches. The long brooches went out of fashion by the end of the sixth century.
The Kilmainham Brooch is a late 8th- or early 9th-century Celtic brooch of the "penannular" type. With a diameter of 9.67 cm, it is a relatively large example, and is made from silver, gold and glass, with filigree and interlace decorations. Like other high-quality brooches of its class, it was probably intended to fasten copes and other vestments rather than for everyday wear, as its precious metal content would have made it a status symbol for its owner; less expensive Viking-style brooches were typically worn in pairs on women's clothing.