480 AD IDOL The origin of English & Skuldelev in the worship of Isis (Engl-Isis)
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480 AD IDOL The origin of English & Skuldelev in the worship of Isis (Engl-Isis):
$367142.25
(Please note - this artifact is purchased together with my own copyrighted description of it and the words and ideas below & it's images - as seen in this advert) (PTR 30/07/2023) and from time of listing on .(In effect you are buying the history of the Vikings & of 'England' from about 480AD - here re-interpreted in the light of the discovery of the present artifact with it's unique intertwined imagery, shown below to be pivotal in understanding the pre-linguistic origin of the English language and people and the newly discovered, all pervading influence of Isis in Viking and Angle culture, as seen here, in this artifact, for the first time in history) What's so uniquely amazing obout this artifact is that without the aid of writing, it's maker has unambiguously and definitively identified the simultaneous worship of both Odin and Isis (and in the process also showing Gullinbursti & Odin's horse Sleipnir ) without the depiction of the goddess herself; and only the head of Odin - and then, only upon 40mm of bronze. So well has this been represented that the images have translated across 1500 years. One could easily write one's own book about this, but I have made some notes below. All of the copyright comes with the artifact itself. The ramifications of this artifact's discovery are immense. They impact nation's origination myths, and language origination myth, funery practice, the origin of carnival and floats, a new interpretation of the Viking ships at Skuldelev as sacrifices rather than a defensive barrier; the building of megalithic structures (Indeed including skyscrapers (revealing them to be the re-invention of Henges for the worship of Isis (albeit subliminal (one can't shake off 5000 years of the worship of Isis - it is embedded genetically.) (and one can't can't get rid of that behavioural pattern just by renaming Isis .'Christ')) One might surmize that the Angles were akin to the Normans in 1066. Small in number, as according to Bede - they all came to England by sea, leaving their homeland completely unpopulated, possibly, like the Normans bringing their horses with them and so gaining success in battle; their king's name, Eomer, meaning 'brave with the horse'. But skilled in war like the later Vikings. Perhaps also - their elite; worshipping Isis, as described by Tacitus in 100AD. Perhaps many of the elite Romano Britons also worshipping Isis....Perhaps finding allies here. One might also surmize, that from the widespread worship of Isis throughout the known world, that worshippers of Isis may have been highly educated navigators.
The present artifact attests to the worship of Isis by the Angles in 480AD - I suggest from which the term 'English' derives from 'Engl-Isis' (also 'Brit-Isis' (British) - as many educated, elite, Romano-Britons would also worship Isis), (Isis likely pronounced -Aay-seh derived from period coptic Egyptian - 'Ese')The unification of the two sects seen in 'Benty-Grange', where 'Benty is an amalgamof Briton and Engl. (and 'Grange derives from the old french 'Grenier' meaning 'space beneath a roof' - in the case of Benty Grange this referring to a tumulus or burial chamber. - a prime unambiguous example of this derivation is seen in 'Newgrange' in Ireland.). Moreover, one can deduce, directly and uniquely from this single object, that the ships of Skuldelev and others in Denmark derive from sacrifice to Isis.....(I suggest 'Skuldelev' is and was actually situated on 'Isis-fjord') ('skuld' means 'debt' in Icelandic and 'elev' means 'student'. Thus 'Skuldelev' means 'student's debt'.....I suggest therefore that 'Skuldelev' refers to, or derives from the debt owed by the followers or 'students' of Isis, at the site, to Isis........ That is, Skuldelev is the site of sacrifice to Isis.) (PTR 08/04/2024).......... (Interestingly Skuldelev might also translate as 'bald-student' in a number of Norse languages and it is well documented that Roman priests of Isis (at the time of Tacitus) shaved their heads.(eg
from Firmicus Maternus ('De errore profanum religione'2nd century):
"The following is the gist of the cult of Isis. Buried in their shrines they keep an image of Osiris, over which they mourn in anniversary lamentations, wherein they shave their heads so that the ugliness of their disfigured polls may show their grief for the pitiful lot of their kin"
Following the above reasoning.. 'Himmelev', nearby, would translate as 'Sky-Student' (from the Swedish) - hence = 'followers of the sky'....''navigators".
likewise 'Veddelev'- a harbour, also adjacent, would translate as 'wood- student' (or 'firewood student'- = place of building boats (by steaming planks)
Interestingly the largest hoard in Denmark was found at 'Vindelev' - which translates as 'Wind -student' or 'followers of wind' ....which might translate as 'sailors'. and note that treasure was found in the hoard from all over the then known world.
It might be noted in this context that Isis' name itself is considered by a number of scholars to be synonymous with the word throne, which was also her hieroglyph. (i.e.The object making the king). Making Engl-Isis - 'Throne of the Engls'. (more generally in keeping with the multi-faceted meaning of 'Isis' in 480AD Egypt - also... 'Home of the Engls' and/or, 'Place of the Engls')). It also explains the numerous (over 20) finds of elaborate 'chair-pendants' in precious metal hoards in Scandinavia, including examples near Skuldelev....they representing the worship of Isis. Goddess of 'the particular place from which the grain sprouts'. Thus if you are English or of English descent, you probably like model boats (and can't explain why) because they were made for many thousands of years by your ancestors, as sacrifices to Isis. (Christianity suppressing the practice in about 600AD) This is dedicated especially for those who have had the primal desire to let a treasured model boat go, by itself, into a stormy sea or open water. I've done it twice. Once in the sea at New Brighton and once on a windy day with big waves on the Manchester ship-canal. On each occasion, I felt better for having done it. The first time was when I was about 10 and the second time, 45 years later. I couldn't explain why I did it, or why I felt so good about doing it. It just somehow appeared to be their destiny and or their particular purpose. But I remember every detail of both boats very fondly.After finding the present artifact, I realize this was infact a religious ceremony carried out for at least 3000 - 4000 years - 'Navigium Isidis'. I suggest below that it is likely the origin of Stone Henge and Skuldelev, evidenced directly in the image on the present artifact in the pre-history of 480AD. Noting especially that the 'Northern tribes' as described by Tacitus in about 100AD would have an even greater need of the worship of Isis, and the 'Navigium Isidis' because of ice formation at northern latitudes, which would close the sea to navigation in the winter. Note also that from the present, pre-historic and pre-linguistic artifact, one can propose the terms 'English' and 'British' derive from the Angles and Britons who worshipped Isis as shown on the proposed artifact and the observation of Tacitus; The tribes termed 'Engl-Isis' and 'Brit-Isis', devolving to English and British.(although I've described this as bronze, after some contemplation I think the black finish, appearing highly fractured (also resisting being polished) and therefore likely brittle, might be niello (an alloy of copper silver and sulphur, primarily used on bronze by the Romans (and therefore in accord with its date of manufacture - the artifact still having Romano-Briton influence (in accord with its' location of find, and its' similarity to the black and gold boar (Gullinbursti), on the Benty Grange Helmet) ...although I know no easy way of confirming this other than through X-ray spectroscopic analysis)One must also note that when the Benty Grange Helmet, with a similar depiction of Gullinbursti on the crown, was first discivered in the 1800s , its discoverer, the archaeologist Thomas Batemen, noted that the 'boar' had bronze eyes. (In the same manner as the present artifact). However - in the intervening years it appears to have grown eyes of "pointed ovalgarnetsset into gold sockets withfiligreewire edging" ..which indeed do not look like the original 1800s watercolour depiction of the artifact...in which the eyes appear smaller than they do today. If the eyes were originally bronze - as both described in writing and depicted on Bateman's watercolour, then the boar on the helmet has more in common with the present artifact. It's eyes would likely also to have shone - simply by polishing and so contrasting with the boars' black finish, which is is essentially the same as that appearing on the present artifact. Noting also that the original restoration of the Benty Grange boar, involved prizing off the gross encrustation mechanically with a steel needle - in fact to the extent of breaking the boar in 2. (much more severe than I have used on the present artifact - which was much less encrusted; as shown in the pictures above)From Wikipedia -"In Roman historian Tacitus's first century CE book Germania, Tacitus describes the veneration of what he deems as an "Isis" of the Suebi. Due to Tacitus's usage of interpretatio romana elsewhere in the text, his admitted uncertainty, and his reasoning for referring to the veneration of an Egyptian goddess by the Suebi—a group of Germanic peoples—scholars have generally held that Tacitus's identification is incorrect, and have debated what goddess Tacitus refers to....."Tacitus writes"Pars Sueborum et Isidi sacrificat: unde causa et origo peregrino sacro, parum comperi, nisi quod signum ipsum in modumliburnaefiguratum docet advectam religionem............"Rives translation is................."Some of the Suebi sacrifice also to Isis. I cannot determine the reason and origin of the foreign cult, but her emblem, fashioned in the form of aLiburnianship, proves that her worship comes from abroad."......... The Angles were regarded as 'Suebi Anglii'.a discrete tribe withing the Suebi. In contradistinction to the above Wikipedia discourse and the general belief of the repeatedly cited 'scholars', and in the literature in general; the present artifact is definitive proof that Tacitus is correct........and that 'the scholars' are wrong.... One can conclude, not only that the Angles 'worshipped' Isis, but moreso, that the very word 'Worship', derives from the ceremony, 'Navigium Isidis' shown vividly on the present 480AD Angle artifact, likely from a helmet; of the 'Viking-type' man, carrying a ship. (note also that Isis' role was primarily as a mother and protector of the king, whose purpose was to smite his enemies - her hieroglyph and 'head-dress' was the throne). (note also that the funerary practices of adherents to the cult of Isis are completely undocumented (In fact any worship of Isis by the northern tribes - as described by Tacitus is unknown)- but, amazingly, and never before seen or even suggested, one might speculate, only from the evidence of the present artifact, that the ship burials of the Vikings, in all their forms, are an example. Moreover, one can see the actually ceremony being acted out on the present artifact, in detail. One can surmize, following the Wikipedia entries, that much of the worship of Isis belonged within an 'inner-sanctum' of elite, so that whilst the goddess was accessible to the general populace through her festivals and places of worship, she in a way, belonged more directly to the 'king' or cult initiates, so that much of her worship was secretive. (such an elite might indeed separated from the general population by their level of education, ability to remember mathematical formulae, knowledge of astronomy - and so could navigate etc.). Perhaps these secret ceremonies conducted by descendants of the 'Order Of The Garter' or their equivalent. This is why evidence of her worship, as described by Tacitus, is not generally directly evident in the archaeology. (This secretion actually regarded as being behind a 'veil' (The 'veil of Isis'))From Wikipedia ........"Much of Isis's cult involved activities that were far more public than the mystery rites, such as the adoration ofcult statueswithin her temples, or outdoor festivals such as theNavigium Isidis,[32][33]yet scholars often regard the mysteries as one of the most characteristic features of her cult.[34]."..... The very word 'worship', according to the Oxford English dictionary, derives from the old English 'Weorthscipe' (noting that 'Old English' is by definition 'Angle') and the word 'Scipe' - itself of Angle origin, meaning 'ship'. One can thus deduce (uniquely) from the existence of the present artifact, itself pre-dating the English language, and the associated dictionary definition of the word 'Weorthscipe', that 'Weorthscipe' (Worship) means literally'We are thy ship'.(copyright PTR 05Sept2023)(perhaps one could explain this simply -before literacy, in that one could easily define a 'body' as a 'ship' or a form of 'container' - if one thinks of a 'container', a 'body' or a 'ship', as 'memes' which did not in 480AD reside within a definitive written (a manifestly illiterate, 'Dark Aged' world in 480AD) linguistic context and therefore had few boundaries - as though almost existing somewhat in a 'dream-state' and residing in images such as those seen on the present artifact). The meaning imbued in such individual images being given in part by their relation to connected images. So we see in and on the present artifact, in addition to other distinct motifs, (including Odin wearing his helmet, the boar, Gullinbursti, as also seen on the later Benty Grange helmet and Odin's horse Sleipnir) the very origin of 'worship' itself. ......Not as a word, but as a set of (3-D) connected images. Somewhat like a (3-D) hieroglyph.(one might even think of it as the material embodiment of a 'meme' or 'memeplex' before 'memes' existed in the human brain; before literacy existed - In the modern brain today, memes having rather been defined and spread by language.;...The present artifact created, and existing as a pre-linguistic, -'worshipeme' or 'weorthscipeme' (we are the 'ship' of thy memes) (copyright PTR).)(One might consider the present artifact a 'pre-conscious'... 'idea')Another way of saying it, is that the present artifact represents a none-literal consciousness.-One that cannot (in 480) be described in words..Rather residing in an (this) object rather than in a brain. In this way it is itself 'alive', belonging to an 'extended, a shared or 'species-consciousness'. (species-defining-consciousness). This concept actually explains Idolatory. The idea that Idols are alive and possess power. (copyright PTR 07 Sept 2023) As an aside; it's not too difficult to see - especially with the overt revelation and manifestation of the present artifact, - that any place regarded as a place of 'worship' is thus fundamentally associated with the goddess 'Isis'. One could say that her creation itself gave rise to the 'worship -meme'. 'Worshipeme'). (Which would be later 'hi-jacked' by Christianity in a syncretist manner (whereby 'Thy' would refer to 'Christ' as distinct from 'Isis'.) (or at a 'meme-level' - it might 'infect' Christianity or vice versa) One might think of the hymn. 'Onward Christian Soldiers' ...but the present artifact replacing the 'Christian' in that context with 'Isis'. The present artifact describing... 'Onward Isis' soldiers'......."with Odin and Isis (& Gullinbursti & Sleipnir) marching on before.".......
[One might note that the interwoven nature of the images on the present artifact, appearing vertically intertwined, might be a pre-cursor or parallel to 'Cursive' writing as distinct from the individual letters of 'print'. Somewhat like a cursive form of (discrete) Egyptian hieroglyphs. Moreover - the minds of individuals in 480AD Britain could possibly 'read' such imagery - also in reverse (here top/bottom, bottom/top - without turning the artifact over. So they could see and read both sets of images simultaneously, without the need to turn the artifact over, as we today must do, in order to 'see' the images as presented. That would explain the ability of it's maker to integrate (write) the image of the boar with that of the horse. (today - we have to turn the artifact over vertically (rotate 180degrees) in order to see both images - whereas in 480AD - this might not have been necessary {the modern brain is programmed to 'see' by scanning it's point of focus digitally in horizontal rasters -whereas in 480AD Britain, this might not have been the case}). It also perhaps explains the origin of the 'Dark Ages' ; as perhaps more information could then have been gleaned from individual images, as compared to the modern brain, because of the different way the modern brain works. So in 480AD obviating the need for a written language. Thus the present artifact - with it's vertical, intertwined arrangement of imagery, which also inverts, might be a testament to the physical way in which brains worked in 480AD Britain - astonishing as that might seem] All this neoroscience notwithstanding, the present artifact, with imagery which is simple, succinct, eloquent, well defined and interwoven; 1500 years old, and yet newly revealed, being self-definitive, self-referential, placeless, timeless, yet captured, frozen at the time and place of the solidification of its' alloy, embodies a clear narrative which turns over the current paradigm of Skuldelev. It shows worshippers of Odin dressed in their typical baggy trousers, like Vikings (but earlier) & clogs ; (most likely Angles, perhaps inhabiting Skudelev) sacrificing a ship in the 'festival of Isis'- 'Navigium Isidis' (latin = 'sending the boat (to the sea)'). Thus likely the Skudelev boats are sacrifices rather than 'block-ships' as has been proposed. In fact, the discovery of the present artifact with its' concise intertwined images, turns over numerous historical and pre-historical paradigms, which it demonstrates to be myth. Not least revealing that Odin and Isis were worshipped together. (one might suggest perhaps, those gods themselves derived from Isis and Osiris; as evidenced for example in the name of the 'Durotriges' (latin = '2&3' - referring to Isis & Osiris) who likely occupied Stone-henge - and worshipped Isis there (also evidenced from their 'tree-ship' coin -like the similar 'Morini' 1/4 stater coin), and in particular through the 'Navigium Isidis' - which woud have taken place over a very extensive period between Stone-Henge itself, as a temple of Isis, and the adjacent river Avon along 'Stone-Henge Avenue'. This has perhaps even been alluded to before - in a long forgotten 1861 book about Stone-Henge, (author Winwood-Reade) entitled 'Lifting the Veil of Isis'; but there without the hard evidence of the worship of Isis in Britain, as most clearly demonstrated, for the first time, by the images on the present artifact. It has not required the 60 years of archaeology at Skuldelev and Roskilde in order to define (see) it. Rather having been 'cooked'; lying dormant in the ground for 1500 years, like a peach ripening to perfection. It's self-referential and self-definitive imagery, itself being timeless, 'placeless' and universal, as one would expect of it's gods. Not even requiring a context to define its' place or time of manufacture, as it is its' own context. (The inscription beneath the statue of Isis in Egypt saying "I am all that was. all that is and all that shall be") Moreover, by contrast with Skuldelev, it does not require a museum to house it, nor is it as heavy or unwieldy as Stone-Henge. Even it's pagan idols being easily portable; despite the weight of its' (and their) massive, all-embracing substance/ideology..... Such was/is the great skill of its' maker, undoubtedly honed within an illiterate world, when and where the mastery and creation of such imagery might well have been of itself regarded as magic. The images (Idols) created and seen here do not age like words which easily lose context over time and which can be interpreted in many ways. Notwithstanding that it's smith, may well, and indeed is likely to have, added in some ingredients, the identity of which, now lost with the 'smith', ultimately imbibing it with these magical qualities........(perhaps eye-of-toad, skin of newt or plants or similar) Perhaps 1500 years ago - with imagery like this...who needed words?Now ...and then...to be the Rosetta Stone of the Viking age, and indeed of Stone-henge, ship-stones, barrows, tumuli, and pyramids (revealed here as the true ships of the desert).....speaking clearly through the ages, it's otherwise eternal silence, strikingly awoken, to shake foundations as it fell from the tree; yet without a voice.From Wikipedia...In a 2012 paper, Joseph S. Hopkins and Haukur Þorgeirsson propose a connection between aVanirgoddess, particularlyFreyja, and the ship symbolism of the "Isis" of the Suebi.(as observed by Tacitus) The two propose thatOld Norsetexts an image of a 'ship in the field', implying a strong association between Freyja and ship imagery, particularly thestone shipsof Scandinavia......... This speculation, for the first time, is given direct tangible, solid, evidence on the present artifact in the manifestation of the Navigium Isidis, here clearly depicted as a man (in baggy trousers - as observed later Vikings and their antecendents wore) carrying a model ship...clearly the worship of Isis. In fact.... here; 600 years before the texts of the 13th century 'Prose edda' and 'Poetic edda' - 'the "old Norse Texts" - to which Hopkins et all, cited above, refer.
I suggest further, using the reasoning of Hopkins et al, herein - that from the present artifact - one can deduce that the very word 'Wor-ship' derives from the festival of Isis. The sending of a model ship to the sea. (effectively -'We are thy ship',..., and by analogy with the Navigium Isisdis; the banners used in religion represent the sails and steeples of churches, the masts). Moreover it is self-evident that 'Stone-henge', Scandinavian -'ship-stones', 'barrows' and 'tumuli' arise from the 'wor-ship' of Isis. For this reason, it appears that Christianity has done all it can to wipe out this connection, whilst also immitating its successful history - as seen in burying the Skuldelev ships). Thus the present artifact effectively lifts the 'Veil of Isis', (In this case that of time itself [not inconceivable that the 'Veil Of Isis' is time itself]), to reveal Isis as a core component of the first 'English' religion. And one can suggest that Christianity itself is syncretist with respect to Isis.The present artifact, although it is a 'work in progress' - in terms of deciphering the 1500 year old imagery, which is remarkably clear; it's just that it is impossible to put oneself in 1500 year old trousers; - nevertheless demonstrates a number of historical firsts in Britain (dated at 480AD) and indeed the world. [Remembering that in 480AD -in Britain (and Scandinavia) - all warriors were also sailors. (And at this point take the opportunity to remind one of the baggy trousers of 'Asterix The Gaul'). After the discovery of the present artifact, many more such boat sacrifices, such as those which can now be contested at Skuldelev (deduced from the present artifact), will be found. (noting that it would be impossible to show the sacrifice of a full size boat on the present artifact - so a 'model' , as shown here in detail on the present artifact, with sail billowing, is here considered both a proxy for a real boat and a depiction of the 'material-fact' of a model of a boat, at a real festival of Isis.]Here are some indications of the firsts I can think of......... A more eloquent incisive mind than mine could surely add more dimensions.... There is so much intrigue...
1.The first reported depiction of Odin and Isis on the same artifact. (and therefore the world's first unequivocal identification of the syncretist origin of the Goddess Freyja)2.The first reported unequivocal, unambigous, perhaps definitive, depiction of Odin; his image, so cleverley and eloquently, here defined by his head actually consisting of the heads of his two ravens, (I would love to be remembered that way if I had two pet ravens) Huggin & Munnin, corresponding to 'Thought' and 'Memory'. Interestingly here showing the ravens in profile representing two halves of Odin's head, as 'Thought' and 'Memory' actually reside in different discrete parts of the brain.3.The first reported depiction of a 'Carnival' in Britain. (derived from latin - literally meaning 'carrying or sending the boat' (...to the sea....) - the man shown here in a ceremonial costume with native period 'baggy trousers' actually physically carrying a boat in the 'festival of Isis' (Navigium Isidis) (sending the boat to the sea)) (to be sacrificed -as seen at Skuldelev) (the imagery of Isis as seen here also seen on early British and continental coins - suggesting a widespread cult of Isis in Britain and the continent (remembering that there was no writing so that the image is all we have - especially of a ship on one side of the coin and a tree on the other - on coins - the symbol of Isis as described by Tacitus)4.The first reported depiction of a 'float' in a carnival in Britain. (the name given to the man carrying the boat; or the boat itself)5.The first reported, unambiguous (perhaps definitive, as being the first depiction of Gullinbursti anywhere before his mention in the Prose Edda of the 1200s), depiction of the boar 'Gullinbursti' in Britain (and perhaps the world) (pre-dating the Benty Grange helmet by 100 years..........(thus the present artifact from which one can define/deduce that the boar on the later Benty Grange helmet is Gullinbursti; as previously speculated from the much later texts) (also in the processre-defining the Benty-Grange helmet as 'Anglo-Briton' rather than 'Anglo-Saxon' as it is now and previously known. (Because the present artifact is 'Angle' as defined by it's depiction of the worship of Isis in association with a depiction of Gullinbursti) ( I now here suggest that the name 'Benty' - actually derives from conjugating 'Briton' and 'Aengle' and indeed - in this context (especially of 'Syncretism) - Benty Grange would have been an important place in 600AD) (and the Grange in Benty Grange to derive from the old French 'Grenier' - meaning - "space beneath a roof" - therefore in this context a 'tumulus' or 'barrow' and reference the primary example of this as 'New Grange ' in Ireland.)(I point out that the artfact's 'elongated horse aspect face' does resemble a recently found Roman painted brooch of a horse.) Noting also that the boar on the Benty Grange helmet is very different to that on other helmets described as 'Anglo-Saxon'. Note also that the mound where the Benty Grange helmet was found is situated next to 'Arbor-Low'stone circle (actually 'ship-shaped'...and moreover 'Arbor' is is from from the latin, meaning 'tree-mast' - 'Arbor Low' is the representation of a ship sacrifice.) and Gib-Hill tumulus (also ship-shaped) (again Gib - the same as he 'Jib' on a ship..so likewise a ship sacrifice, and both evidence of the worship of Isis). I propose all arising from the worship of Isis. Noting moreover, that all three monuments are on a major Roman road. (perhaps the Romans built their roads through what were already temples of Isis) (copyright) (noting that much of the worship of Isis was secretive and belonged to an 'Elite', probably including engineers)6.The first reported depiction of a 'Liburnian ship' in Britain (as described by Tacitus in the second century AD as being the symbol of the worship of Isis by the 'Angles' ("Suebi Anglii")(I suggest from the present artifact - he possibly mistaking a 'Liburnian ship' for a 'Viking-form' ship - such as those at Skuldelev))7.The first depiction of a germanic man; notably and especially, an Angle, (later an 'English-man') in baggy trousers; as reported/speculated, worn later in Scandinavia in an EU funded project researching early Scandinavian clothes. (results published and available on-line).So here first seen and reported .. the dress of definitively the first 'Englishman'.
8. Probably the first depiction of a funeral procession in Britain. The ship shown regarded also as the body carrying the soul. (Observing that there is no such 'thing' as a 'ship' in the natural world (following reductio of/from Zeno's paradox and its' here relevant consequence 'The Ship of Theseus') and there is no literary evidence from the period of the definition of a 'ship'. So the term 'ship' would , in 480AD Britain - have a more general meaning at the time of this artifact and in an illiterate population- would be more generally and widely be synonymous with a '''container which protected an individual or their soul''' - In this context, stones (appearing eternal) logically taking the place of the body as a vehicle or container for protection for/of the soul in the after-life'). The present artifact upon which it is seen, actually used in a funeral rite as demonstrated by its broken foot. (broken in the same way as two similar contemporary artifacts shown above) (possibly the ashes of the deceased in the model boat before it is launched)9. Here is reported - The first syncretist observance of 'Henges' 'Stone-ships' (as appear in the Baltic), 'barrows' and pyramids as an integral part of the worship of Isis. (in particular related specifically to the Navigium Isidis) [noting well that the 'Durotriges' coin dated prior to the Roman invasion - shows the same image of a boat as seen on the current artifact - together with a tree on the reverse. Together, from the present artifact and Tacitus writing can be identified as the symbols of Isis. The Durotriges territory encompassing 'Stone Henge' ...their 'capital' being at the mouth of the River Avon. (near 'Christ-Church' - likely a prior temple of Isis).] Such barrows, tumuli, henges, stone-ships, and pyramids being integral to the 'Festival Of Isis' and analogously a 'funeral procession'. Which would also take the form of a carnival. ('Carrying or sending the boat (but here the 'boat' containing the soul) of the deceased)'.....[pre-Isis 2500BC ..perhaps another god would have presided over the same event]. (perhaps suggesting that the Pyramids were not 'robbed' but rather the bodies of the entombed were ceremonially taken in the Navigium Isidis - to the sea. (Explaining the canals cut adjacent to the Pyramids.) The pyramids themselves built as a sacrifice and act of devotion to ISIS. The act of building them religious on behalf of their builders. The stones of the pyramids binding the people of Egypt through the collective act of devotian of/to building the pyramids.. The tombs only a temporary residence of their occupants; until the festival of Isis.10. Reported and shown on the present artifact, here for the first time - One might suggest that the Viking boats found scuttled collectively in Skuldelev, Denmark (In 480 likely home of the 'Angles' and which are currently a part of a museum; were in fact, sacrificed in 'Carnival' ; either, in the death of a Viking or in celebration of the goddess Isis (then and there known as Frejya). (both essentially the same thing). As seen on the present artifact being conducted by people of North European descent -Angles (who wore baggy trousers)11. First here Observed that 'Skuldelev' (the actual place of the deposition of the boats at Skuldelev) translates as ''' student's debt''' or more likely ''' skaldelev''' - which translates the same in Swedish, Danish and Norwegian as '''bald student'''- which I now suggest might be translated as 'One who is dedicated or devoted (to the study of ISIS')'or.......alternatively...... 'Followers of Isis' (Frejya, as is apparent on the present artifact). (one might note that Skuldelev is situated on a tributary of the Isefjord - the coptic name for IsisⲎⲤⲈ(Ēse) - which might be pronounced 'Ise'. Christians would have undoubtedly changed the names in order to eradicate the memory, similarly the meaning of the word 'Angle' to avoid historic association with Isis.
Thus Skuldelev is in effect the 'The Great Pyramid of the Vikings'.(nearby will be found the remains of the 'Temple of Isis' likely under the church, and the very old, but later Christian cross that was found in it).............(The boats would have been sacificed to Isis in a prominent location - so that boats coming and going could see them and would have to pass over them. The Christians would later attempt to bury them so that the historical level of sacrifice to Isis could not be seen. (It was a bit like sinking 5 Titanics) The boats to be sacrificed might have been chosen in the same way that people were chosen to be sacrificed to Odin. In this way, crews would have to inter-mingle, increasing social bonds. Perhaps the builders and crew of the sacrificed boats would gain elevated status. Perhaps made 'captains' of other boats, so that there were never be 'jobs for the boys' or cliques. 'Captains' and status, effectively chosen without personal bias, by Isis (Frejya) !!!! Indeed - one might suggest that such large sacrifices might have been prompted by the threat of Christianity. One would also suggest that the very word 'Angle' - previously believed referring to the 'narrow isthmus of land' or associated narrow inland fjord routes, of the Angles, rather and much more reasonably refers to their 'narrow' boats. (and perhaps also the sharp 'angle' of their keel). (I here suggest -'Angle', deriving, ultimately, from onomatopoeic consideration - (Booba-kiki theory of language)) (((not impossible that the word ''narrow'', itself, derives from 'Knarr-row' (Knarr a colloquial name given to a Viking boat - and might correspond to the sound 'NOW--ROW'-'NOW--ROW'-'NOW--ROW'-)))(or very similar). ......Considering the boats which were central to the worship of Isis (Frejya) and the Angles' very existence. (so much so that their homeland (on the Schleswig Isthmus, itself) was considered abandoned after leaving to invade Britain)
CopyrightPTR.25aug2023
This would be perfectly at home taking central stage in amongst the 83 million artifacts held between the British and Natural history museums, both crystalizing and a point of focus within a combined collection aimed at identifying the origin of the British people and intrinsically germaine in defining a national identity ....... Indeed it might be exactly the sort of artifact that the museum could let slip through it's fingers, not least because of its' physically small size and lacking both an on-line exposure, context and description; had it not been for my spotting it from the clearly wide, almost infinite expanse of and within such an orchestrated landscape!! ....Exposed as you see it here, and much moreso in the flesh, it literally and metaphorically holds sway amongst the Pantheon of the greatest and most powerful objects ever to have graced this emerald Isle..filling a huge void and the giant chasm of the 'dark age', after the Romans left; completely lacking literary and therefore conscious realisation or perception (following Wittgenstein's earliest definition of the idea, to paraphrase, 'that anything which exists - can be described in language'), a period therefore at the very inception, the birth 'in the womb', of the 'British consciousness'. (My exposition of this artifact below, in no way does it justice, as I am neither archaeologist nor historian, (just a Google person) and is wordy, boring and totally lacking editing, but one hopes it covers all the factual and copyrightable bases, (the buyer can use ,edit or discard it all, as they so wish, although in the round it would make a good factual basis for a book or televison series, with some rearranging, as I have only written it as various research has and is continually revealing more and deeper understanding of the imagery and indeed its' supposed 'magical' method of manufacture) ...It's value and power (apart from the fact that it is a pagan Idol) is derived from the fact thatit underpins, and it's images are earlier than those seen on other very valuable, or 'beyond value' 'definitive', British artifacts, such as the 'Benty Grange' helmet and indeed the 'Sutton Hoo Hoard', the former described as the most valuable asset in Sheffield city museum and the latter described as the British Tutenkamuhn)(they were both there last time I checked). The images on those artifacts having indeed evolved and derived from those seen on the present and significantly earlier artifact. The present artifact could thus therefore be descibed as both the 'mother' and 'father' of the images on those priceless artifacts; in keeping with the creative roles of both Odin and Isis in 480AD, as here, both revealed and made manifest, more than 100 years before those objects' production, and possibly the present artifact also might therefore be described in a purely material sense, as beyond monetary value....certainly this artifact of both National and moreso - international import at a number of levels and in a number of contexts. Of note is that the time of this prior period artifact was not marked by the use of gold or precious gemstones as were the later 'Benty Grange' and 'Sutton Hoo' pieces - but rather the period is identified by and valued for it's depictions in copper alloys. It appears that the art and craftmanship with such alloys was regarded as having greater meaning, likely imbibed with magic (the casting of such detailed artifacts was deemed the work gods, or 'god-smiths' and were highly prized). Not only can one see this value in the amazingly complex and considered imagery, but consider that the forger or smith would add his own secret ingredients such as for example - the skin of a boar - into the recipe, in order to imbibe them with properties only known to them, and not impossibly revealed today; 1500 years later. (as recorded in the Prose Edda of the 13th century) (According to Julian Jaynes the Prose Edda and the Poetic edda should be taken as objective texts, stating perceived facts, rather than being metaphoric as they might appear or be perceived from a modern mind's perspective- surrounded and immersed in a modern world) In regard to it's imagery, this artifact, dated to 480AD or earlier is singularly the only artifact (and remember there are 83million items in the British collection alone, and that increases to 150 million if one includes the written records in the British library) from the period, showing unequivocally 'The ship of Isis ' (Navigium Isidis) (Identified on the present artefact, as being a model of a ship [especially a 'Liburnian Ship', as stated and evidenced by the written record of the Roman senator Tacitus in the second century AD, as the symbol of the worship of the Romano-Egyptian goddess, 'Isis'..]...here the symbol being carried by a figure (originally of North german/scandinavian origin) wearing 'baggy trousers' (read on))....and appearing simultaneously together with Odin (as identified unambiguously by his head comprising the heads of 2 ravens) on the same, present, artifact. Allowing one to identify and equate conclusively and categorically, the goddess 'Isis', with the Norse goddess 'Freya',...... and for the first time in history. (and uniquely in Britain from amongst its' 183million item -well catalogued collections - not to mention the 100s of millions of Scandinavian and germanic origin) (this only having previously been speculated upon from circumstantial evidence, such as their parallel and similar roles.)Possibly and likely thus also identifying and observing first hand, the unique event of the birth of 'Freya' as a 'germanic' goddess on this very artefact.... by intimate association with Odin on the same artifact; for the first time in history. i.e. one sees here the creation of a, The goddess, - literally - in the form of an idol. (in this observance, identyfying exactly how gods are created from other gods through the god-smith who made it) (Indeed Odin himself is described in the 'Poetic Edda' as creating idols, and here , he is actually seen doing it) (The only other evidence concerning the historicity of Freya's existence, arising first in the 13th century in the Prose Edda and separately in the Poetic Edda by Snorri Sturluson, 700 years later). Those words only subjectively attesting to the objective reality of the present idol. (made of 'bronze' - one can think of the boat in the round, as 'The body of Isis' -produced from her incarnation as a tree)) All this notwithstanding it also, significantly, shows the existence of the boar 'Gullinbursti' in Britain around 480AD, thus demonstrating that the boar on the later Benty Grange helmet is in fact Gullinbursti, as has been previously speculated. (both artifacts being associated with a funeral rite and thus likely the boar in that/this context - lighting the way to the after-life...as well as it's complementary role in the warrior existence of the day as imbibing both aggression and protection (possibly triggering the associated mental states (made physical) in it's wearer. An idea mooted by Julian Jaynes, whereby voices generated in one side of the brain were perceived of as those of the gods in the other (The theory he called 'The Bi-Cameral mind)) One could surmize that the inter-related and nested woven imagery as it is presented here would induce a particular response in the mind of 480AD, as though a trigger, evoking a response from the gods in one half of the bi-cameral mind, which the other half of the brain would respond to as though instructed by a god. Such was this brain state, so robust were its complex neural connectivity - that it would inhibit the natural evocation of language by neural association of the hand and eye in the somatosensory cortex - with the effect of giving rise to the 'dark-ages' in Britain between 420 and 700 AD. Thus the complex imagery on the present artifact, served to 'switch the lights off' and so produce the 'Dark Ages'. One might add - that the figure carrying the boat and wearing baggy trousers (as also characteristic of the very first (but later) and well documented depictions of 'Vikings') has one foot significantly larger than the other. Likely an indication that the boat's maker, was /is 'Wayland the Smith'... the god who made all of the gods' weapons and magic jewellery - perhaps such as the present artifact. Possibly and indeed likely, having unique ingredients in it's fabrication. 'Wayland the Smith' was represented by the Roman god 'Vulcan' - so perhaps there is more syncretism seen here in this parallel. The Egyptian God 'Ptah' also performs similar functions as did the Greek god Hephaestus...all, who one way or another, acquired a similar deformity (as seen on the present artifact) or disability of their legs, so that they were bound to their forges. (noting that, appropriately, Hephaestos was considered the creator of the universe, perhaps as one might consider; the event seen on this very artifact).................... .........This was found in Warrington, a metal detector find in the probate sale of a private museum. (provenance can be provided) At the time of it's construction, (480-525 see below) it is likely that 'Icel' was king of Mercia, including the area which is now Warrington. Icel, a King of the Angles, in Northern germany is recorded as having brought his people by boat to invade England. He is also recorded to be son of Eomer. The name 'Eomer ' is believed derived from 'Eoh' - one who is 'brave with horses' and 'mer' which at first sight means 'sea'. Perhaps one who fought with calvary, transported by sea?..a difficult undertaking. Moreover, Eomer is regarded as a direct descendant of Woden (Odin). (could it be that Icel - like William, 500 years later, brought horses with him from 'Anglii' and so was successful for exactly the same reason as William)) All of these images appear on the present artifact. The horse's head, the ship and Odin himself dressed for war in a crested helmet with a nose-piece,(note the serrations on the nosepiece as seen on the later Sutton-Hoo helmet)) , perhaps this artifact, one way or another directly related or referring to King Icel. At another - more abstract level - (not considered abstract in 480AD at the time of the artifact's manufacture), another meaning can be attributed to the imagery ..... It is clear after some contemplation that at the hinge end of the artifact, above the horse's head, is a figure wearing baggy trousers.(as later Vikings have been shown to wear) - who appears to be actually holding the ship depicted across his chest. (presumably male because of the size of the model). Therefore literally appearing to hold a model-ship. In this respect, Tacitus - in the 2nd century AD remarks that the 'Suebi' (a Germanic peoples including the 'Angles', worshipped Isis. Remarking that the symbol of her worship was a 'Liburnian Ship'...just exactly as seen on the present artifact. Central to the worship of Isis was/is a ceremony called the 'Navigium Isidis' - the carrying of a model-ship to a river or the sea, and it's sacrifice to the sea. .Exactly as is depicted on the present artifact. Demonstrating definitively that the imagery on the present artifact represents 'Isis'. Above all; Isis was a symbol of Kingship, especially playing a role in suppressing a King's enemies. Symbolically being the mother of the king. A female counterpart to Odin, the god of war.Thus both are clearly and unambiguously represented on the present artifact. All the above together with the appearance of the boar 'Gullinbursti', with his golden mane, suggesting that this is likely used on an 'Angle's' warrior's helmet and dates from about 480AD when the Angle's first arrived in Mercia. This distinguishes it from 'Anglo-Saxon' artifacts. (The appearance of a similar 'golden maned boar' on the later 'Benty Grange' helmet from 600-650AD demonstrates that Gullinbursti appeared on Angle's helmet crests). It also demonstrates that the boar (also with a golden mane) appearing on the later Benty Grange helmet, the most valuable artifact in Sheffield City museum, does in fact represent Gullinbursti, as has previously been speculated, and that helmet's 'gold-maned boar ' crest, is also the result of the same 'syncretism' as made explicit by the discovery of the present artifact. (as also the appearance of the crucifix on that helmet's nosepiece makes manifest [Christianity having suppressed/replaced the worship of Isis by 600AD]) The present artifact is also testament to the equivalence (syncretism) of the goddess Isis and the Norse goddess 'Freya', who is/was believed to compliment Odin in taking half the dead in battle to her hall in a field, in the after-life (Folksvangr) (the other half going to Odin's Valhalla). (one might observe that the syncretism directly observed on the present artifact explains the anomaly previously observed, that 'half of the dead' (unexplainably and completely at random) go with the two gods after their death.... As Isis herself was supposed to accompany the dead into the afterlife. Likewise Odin himself. Bringing Isis and Odin together, as seen on the present artifact, could only be accomplished, through a compromise; if half the dead went with each. Here, it is clearly the symbol of Isis that appears with Odin and Gullinbursti (One might also hypothesize that the horse is Sleipnir), and furthermore perhaps one might suggest that one sees the 'Ship of Isis', as it appears on the present artifact, might well give rise to the myth of the ship, Skidbladnir, which was according to the 13thC Prose Edda, to be given to the goddess Freya by Loki as compensation for him cutting off her hair (and replacing it with a 'cap' made from golden hair). (perhaps this referring to the transmorphism of Isis into Freya). All being a part of the syncretist process. The observation in the 13th century myth, that the ship was "so well made, as though from cloth, so that one could fold it up and put it in one's pocket" might be a reference to the fact that in the (March 5th) Navigium Isidis, the ship was either presented as a real ship, or a model, or indeed a banner. (see the freize from Pompei of the festival of Isis, which included a banner following the model ship.) Thus also describing the transmorphism of Isis and Freya. The present artifact literally showing and revealing the syncretism practiced at the time and as demonstrated by Tacitus' commentary. In this context also suggesting that the 'stone-ships' found in Scandinavia since 1000BC, (and stone'Henges' found in Britain [and barrows]) were in fact integral to the worship of Isis, and a part of the 'Navigium Isidis' which from the evidence of the present artifact is also a ceremony which opens the way for the soul into the after-life (a ceremonial funeral -procession) as well as opening the sea to ships in spring). Such 'ship-stones', 'henges', 'barrows' and 'pyramids'; the result of the same 'syncretism' as directly demonstrated by the present artifact . (in this context, one might think of the body as a ship for the soul, and its' appropriate ritual processional/ ritual burial, calming the storm associated with life, so that the soul transcends into the after-life.) (the stones (in the outline of ships or barrows) like the hull of the ship, protecting the soul from the rage of nature outside - in death, replacing the protection that the body provided in life). In this sense the stone-ships, stone-henges, barrows and indeed the pyramids are one and the same thing, all constructed under the auspices of Isis. One can rationalize this logic, if one thinks of a ship in terms of Zeno's paradox. That a ship is only a concept that exists in the human mind, and has no physical manifestation in nature. In this real sense, a body, or a 'ship-of-stones' or a 'henge' or a 'pyramid' can equally and perfectly logically be regarded as a ship. This being the basis of 'syncretism' itself and directly revealed in the present artifact. Indeed, in this context, one might consider the present bronze artifact a 'ship-stone'. Consider, like the other similar comtemporary artifacts observed in the book of Hattatt and that of Phil Harding (read below) that after use in life, all three of these artifacts have had their 'foot' ceremonially broken in a funeral rite. However, in the process, leaving/unleashing, the gods unblemished, to perform their function in the after-life, just as the stone-ship takes over from the 'real-ship'. The process not unlike taking the pin out of a grenade. One might note that the present artifact is in form not unlike a sarcophagus of the Egyptians. (copyright PTR 17aug2023) Although I have written a lot about this below. I am sure that there is much more that I haven't seen.
From - 'Beowulf' - written on a manuscript between 975 and 1000 AD and upon which Tolkien based Lord of the Rings.
"His head was encircled by a silver helmet That was to strike down through the swirl of water Disturb the depths. Adorned with treasure, Clasped with royal bands, it was right as at first When the weapon-smith had wonderfully made it, So that no sword should afterward be able to cut through The defending wild boars that faced about it."
Not only is the present artifact a wild boar, as would be worn on a helmet (a real boar which would protect it's wearer, to the pagan Idolator) - and dated to 500 years before Beowulf's mention of it, (and at least 100 years before the similarly adorned 'Benty Grange' helmet -which is reported as the most valuable artifact in Sheffield City Museum) but so too is there other 'magic' here. The invisible Odin and his horse 'Sleipnir' & ravens - Huggin and Munin, - are here seen, made visible, for the first time in 1500 years. 'As bound into one'. The earliest known solid (incontrovertible) depiction of Odin; as evidenced by his here integral depiction of his ravens and horse (and boar and ship)); upon which Tolkien would model Gandalf 1500 years later.............The wearer of the present artifact would not need the overt motifs of the wild boar seen on the later Sutton Hoo and Benty Grange helmets or as described in Beowulf............. There was/is more than enough magic innate, here, bound within in it.........testament to which is it's reappearance 1500 years after it's wearer first wore it...........just as it appeared 1500 years ago..................
Indeed - in some circles - the kings of England are thought to descend from Odin...............Here he is.............literally.......this is Odin ...This Idol is Odin.........
[there was no writing at the time of production of this artifact, (indeed until 100s of years later) and the English landscape was largely illiterate and as a consequence the makers of this artifact would have had to have been expert (perhaps beyond modern day imagination) at presenting stories in very small objects via images]
from Wikipedia......It has also been proposed that the golden decoration of the boar (on the Benty Grange helmet) representsFreyr'sboarGullinburstiwho has golden bristles, however there is no direct evidence that this story was known in England at the time of construction................."Clearly, however - the present artifact unambiguously shows Gullinbursti with a golden mane and dates to 480-525, at least a hundred years before the Benty Grange helmet."
Of significant note; Wikipedia also states"It has been proposed that the figures" (worn by warriors) "have an apotropaic role and that cutting them off will result in the death of the warrior. In the latter case, the boar and warrior appear to be regarded as a singular entity with a shared life..........."...........In this regard, ...The similar 'brooch' to the present artifact of Phil Harding, as described below, on the government website and the similar artifact found in the book of Hattatt, shown above and the present artifact - all have a broken foot. Perhaps suggesting that they were ritually broken and used in the funeral of a warrior. The present artifact then, Most Amazingly, regarded as being bound in one life with its' wearer..1500 years ago. Here, back from the dead !!!!! perhaps the presence of Odin, as well as the boar, would not allow the artifact to sleep too long. Perhaps he is needed nowfor some unknown purpose (of course Odin can't die as long as the artifact lives) ?!?! One might presume as a corollary to this that renditions of other figures (gods) would also become one with the warrior and so impart their power. One such power of Odin would be the ability to become invisible. (one might think of this as the ability to camouFlage, in terms of a warrior). But one may also consider Tolkien to consider this a literal meaning ..the ring (or artifact) making its' wearer invisible (which might in the round be considered the same thing) (Odin is indeed camouFlaged on the present artifact - invisible amongst the other imagery presented)
Possibly the best way to describe this is as a pagan crucifix. (It could be rather that the concept of the 'Holy Trinity' itself derived from the imagery on this very 'artifact', perhaps as an answer to its power - its' power derived from the synergistic combination of the powers of the Norse Gods (which were all based in human, earthly, potentially achievable endeavours / possibilites as described below ) The purpose to suggest that the somehow the people of the church were all powerful (copyright 04/08/2023)). (One might observe that Ceasar stated that the Germanic gods were based in everything that one could see and was tangible.. So, in actual fact, the 'Holy Trinity' first arose after Ceasar, and likely in answer to the power of the synergistic imagery seen on this very artifact. (Ceasar observing first hand the power imbued in 'germanic' warriors by this imagery) In fact, it is more in keeping with the Benty Grange helmet than the actual silver cross found on it's nosepiece. (it also appears to be designed around crossing diagonals as also seen on the dot pattern of the Benty Grange nosepiece)(Indeed one might surmize that this was actually on the Benty Grange helmet before the silver cross - as it is seen today, appeared on its' nosepiece....Indeed perhaps the cross on that helmet is silver to separate it from the iconography of the gold and black boar as also seen on the helmet's crest and on the present artifact)......Moreover I show above exactly how this artifact might have been attached to the nosepiece using the simple expedient of a bent wire, (I have identified it as a 'Klappersplint' in the above image, although it is likely called something else in 480 AD and likely mentioned in historical text due to its' significance) the remnants of such iron wire, which still remain in the 'hinge' of the present artifact. Such a bent wire would make it much stronger than a conventional Saxon brooch. Moreover, such an attachment would make it versatile as it could be removed when the helmet was not in use and used simply as a fastener on a garment, keeping it always on the warrior in accord with the above idea. Perhaps this the very reason as to why Saxon helmets are rare. Perhaps the only iconography they needed was this very artifact..which would always - over 1500 years or so, separate from it's attachment wire, due to electrolytic corrosion of it's iron fastener. The remnants of the helmet itself would be unidentifiable without this motif. (It would have been recognized as a valuable artifact throughout the pagan era, and perhaps Christians would have been scared of it (copyright PTR 04 Aug 2023))(although one must also recognize the 'crucifix - form ' identity of the artifact possibly integrated with a St.Christopher, as in the much later written Sagas (prose edda) written in Iceland in the 13th century, the boat depicted always finds it's destination, the Ravens of Odin fly to the end of the world every day, the horse of Odin is the fastest, and the boar has golden hair which enables it's rider to see in the dark whilst unlike a regular boar, Gullinbursti can also travel over water) (one needed a bit more 'oomph' in your St. Christopher in travelling the seas and highways in 480AD) (It might also be noted that perhaps the imagery predates the story of St.Christopher, which itself echoes a number of Norse sagas, especially concerning Thor -Odin's son, (who wrestled an old lady and brought her to her knees - she in fact 'time' itself, -just as St Christopher carried the world and its' maker across a river (both unaware of the magic which was upon them at the time). Given the present artifact, one might ask the question, which came first - the story of St.Christopher - or the imagery of the present artifact? or the concept of the Holy trinity????. Indeed a graphic description of the Navigium Isidis as shown on this very artifact dates from the 2nd century AD (as described by Apuleus) and as such, pre-dates either St.Christoper or the concept of the Holy trinity. Hence perhaps there was a battle for 'Hearts & Minds' in 480 AD England as much as military conflict and St.Christopher and the Holy Trinity were raised to battle the Norse gods as embodied, literally, in this very pagan artifact. One might note that Isis has a close parallel in the god Freya as Freya had a coat of feathers with which she could fly, and likewise Isis is depicted with wings of feathers. Both Freya and Isis welcomed the dead into the underworld. The present artifact is a strong first hand testament to the integration of 'Isis' into the panoply or 'Pantheon' of Norse gods, as 'Freya'. It also explains that the stone 'circles' ((in the shape of ships when seen around the Baltic and called 'Ship-stones, and whose origins until the discovery of the present artifact have been somewhat of a total mystery and at least up until the discovery of this artifact have been contested)) are likely the result of the Navigium Isidis (literally "The ship of Isis") - the worship of Isis; as also described by Tacitus in the 2nd century. Also suggesting that 'Henges' including Stone Henge, found in the UK have the same origin. (most Henges being oval, elliptical (like ships) or none circular). - This might be a little surprising if one considers that many 'stone circles' are not near the sea but the festival marks the spring-time opening up of the sea for transport of grain from the fields.(copyright PTR 15aug2023) Moreover one might consider the analogous idea that a 'funeral procession' is in fact opening the 'sky' for the travel of the soul via the ship of Isis. Hence the depiction of Isis on the Sarcophagus of Tutenkahmun..and why Isis was so worshipped in Egypt - which has no sea to speak of. Also explaining the appearance of the 'Ship Of Isis' on the present artifact. (copyright 15aug2023)PTR Also note that from the discovery of the present, earliest artifact, I reserve the right to define the 'crest' of the helmet to include the 'nasal' or nosepiece as this iconography is integral to that on the 'top' of the helmet. Note also, from the words of 'beowulf', that "wearing a 'boar' "might have been colloquial for becoming or acting like a warrior, in the context of wearing the boar motif, not necessarily having a boar on the top of a helmet.This artifact therefore highly probably worn on a helmet judging by the crested helmet warrior depicted. (possibly a sea-borne warrior - from the depiction of a boat (appearing very like a Roman 'Corbita' appropriate to the period- although possibly with a figurehead like a later Viking boat ) - as perhaps all warriors travelled by sea in AD480) Believed by it's wearer more powerful than a crucifix as it's pre-Christian wearer would believe that the gods actually resided in it. The words here - howsoever weak, repetitive and boring (I will edit them at some stage) - describe for the first time in history the unspoken saga of Odin as it arose in England in 480AD as evoked through this real object; at a time from which there simply are no other words. Breaking a 1500 year silence.I believe this artifact - whatsoever its purpose - although it appears 'warring' related - with its metamorphic, metaphoric, intertwined imagery to be as iconic of the early anglo-saxon as is Tutenkamuhn to the Pharoes and should perhaps replace the Sutton Hoo helmet as the icon of the anglo-saxon era. Pre-dating the Sutton Hoo hoard and indeed, the self-referential imagery here from which that on all later decorated Saxon helmets is derived. It places ODIN and the Norse gods firmly around 500AD in England. (despite this 'firmness' - and the heroic tangible nature of Odin himself, attributed by his followers; perhaps paradoxically, from a modern day perspective, Odin himself, unlike the cross of the Christian religion, is hidden anonymously, invisibly, within the 'images' here portrayed....[ testament to this is the fact that I did not find him for months].... but upon consideration, Odin was an invisible god, not unlike Loki and the fact that he is not central within this artifact, and rather in some senses peripheral, unlike the cross, speaks to the tangible reality of his world).However here presented is the boar Gullinbursti (translated as 'boar with golden hair'), Odin's Ravens Huggin & Munnin (thought & memory). Odin's horse Sleipnir and the ship Skidbladnir which is so well made it can be folded and fit in a pocket and which always finds a wind to reach it's destination, And possibly Loki, 'creator of all these 'gifts'' (through a magic 'elf-smith', - (which, reading between these magically presented images; might also be true of this artifact) as the form of the formless. It also is testament to the much later written sagas, the stories, descriptive of the inter-relationship of images shown in this very artifact; only appearing in the written word in the 13th century, perhaps 7-800 years after the production of this artifact. (indeed - does it suggest that this particular saga originated in England before being told in Scandinavia (analogous to 'beowulf' {in this context - could it be the 'ring' of Tolkien}) and moreover that this particular artifact is the first evidence of the story itself -(the invisibility of Odin, as seen here, on it, borrowed by Tolkien) - The story must have been passed down orally and in artifacts such as this for this incredible length of time. This artifact must have contained an immense and powerful meaning for it's images to carry the story for that length of time. (perhaps like a 'seed-crystal', laying dormant and re-nucleating it 700 years from when it was made) It also provides a nice depiction of a boat from 480-525 AD, likely one which could cross the channel....and brought with it the 'Adventus Saxonum' and perhaps the owner of the artifact. (who would have needed the pagan equivalent of a 'St Christopher' to cross the channel in 480AD). It is priceless from a purely historical perspective. The definition of 'precious'. (remember also that in 480AD the world was flat and much smaller than it is today, and two ravens perhaps in actual reality ,could fly to it's ends and back in a day. ..Or even one might consider that the definition of the size of the world in 480AD might have been considered to be the distance that a Raven could fly in a day (Knowing roughly how fast they could fly)??? (I wonder if this is where the word Raven (and rave) comes from, as the word Odin is thought to derive from 'frenzy' (rave)). (So this distance (the worlds size) actually apart of the Raven's 'Bauplan').{one might even surmize from this that a 'day', itself was defined by the time it took for a raven to fly across the world - so now we have "Raven'sday" (Odin's day ) (wednesday). The fact of the sun rising and falling - just coincidental, explained by the sagas, as in 480AD there was no logical reason for the sun rising. (the length and time of flight of a raven in a day much closer to reality in 480AD than any other idea} (copyright PTR 02/august/2023) And,......... in 480 AD the loss of an eye might be fair exchange for knowledge which would allow one to see more with one eye than two. And it is not beyond the realms of possibility that one could fold up a boat and put it in one's pocket, and that it could find it's own destination (perhaps foreseeing the invention of a compass) or that a boar could have golden hair which could glow in the dark (which has now actually been done with genetic engineering)...........and is it even today not genius to propose that 'thought' and 'memory' are distinct and that one could lose one and yet keep the other. Odin was more afraid of losing the Raven 'Munnin' (translated as memory) (as per the poetic Edda. 11th century)) [ Alzheimers springs to 'mind']sic), than the Raven 'Huggin' (translated as thought).
I have repeated a few things below as I have written as things have become visible and revealed new connectivity amongst the images portrayed, and with associated continuing research. I especially just noticed, with photography in different lights, the ochre colour on the horses ears and that when inverted the figure of the bearded warrior with the crested helmet convincingly becomes the heads of two ravens. It is therefore unambiguously Odin. Importantly it places ODIN at 480 -525AD in anglo-saxon 'England'. and is more than suggestive that the imagery on the later Sutton Hoo and other Saxon helmets found in England derive from the imagery on this artifact (copyright 30/07/2023). I also just noticed the artifact below (also shown above) which was dated similarly or earlier on the government website and which also appears to show the same features as as shown here in Regard to the depiction of Odin himself. Thus the present object solving the puzzle as presented below as to the nature of that object. (it thus appears to be Odin, as also represented by the heads of 2 Ravens; exactly similarly to the image presented here. (copyright 01/08/2023))Because of the close similarity in form and size of this artifact to that described below on the government antiquities website dating to 480 AD and likewise to the 'brooch' shown in the book of Hattatt (1989) dated to 500-525AD shown above, it seems reasonable to attribute this range of dates to the present artifact. (albeit that the image on those two artifacts only present an image of an elongated horse's head (not unlike the Celtic Stanwick Horse as shown above)) (add in to this the similar date of the other artifact shown below on the gov. portable antiquities website (refLEIC-B9E3F4)which has the same image of Odin (as demonstrated by it's similarity to the present artifact) Although it is small I contest it's role and significance far out-weighs it's size.In fact, matching the imagery of the later Sutton Hoo helmet, which itself might derive, evolve, de-convolute, from that seen condensed, very finely in and on, this artifact. At first sight, the imagery presented here - of a horse's head, inverted becoming a boar's head, a ship and a warrior wearing a crested helmet, are relatively clear and simple. However if one considers the warrior to represent Odin - as seen in early similar sized bronze depictions as shown for example above. The boar, the ship, the horse and the image of Odin become transformed into the myth and sagas of Odin (rather incredibly only described in writing hundreds of years later) . Whereupon the horse is Sleipnir, the boar is Gullinbursti, and the ship is Skiobladnir (which can be folded up and put into one's pocket). The nostrils of Sleipnir, when inverted, convincingly become the eyes of Odin's ravens, Huginn and Muninn (thought and memory) (Indeed also the eyes of Odin himself, and indeed his head, as represented by the warrior with a crested helmet seen in the lower part of the artifact (as shown above). The horse's ears do appear coloured ochre/red. Moreover the ship and the boar being gifts from the shape-shifter Loki and the horse Sleipnir, Loki's son, also a gift to placate Odin. This intimate connection to Loki, explaining the representation of imagery in a metamorphic, interwoven and transformative fashion. One cannot be considered alone, without it's here seen mystical (to modern man) connection to the world around. (It is not impossible that the head/hinge of the artifact itself represents the form of the formless, Loki, who is connected to Odin, at the foot of the brooch, through gifting him the ship, the horse and the boar. He may indeed appear at the head of the artifact, as a ghostly figure (being the form of the formless) holding or gifting the ship to Odin. It is however likely that such imagery, if it indeed existed at this time in history, should itself be woven into the local Environment of 480AD without words or narrative, as described below when and whereupon the artifact was produced, and at face value, I believe represents a contemporay marriage of a warrior/sea-captain of the Morini-tribe (who as sea-farers possibly had Norse origins) and the Hestengas - who traded horses. And produced around what were in the immediate prior time of the Romans, Forts of the Saxon Shore at Anderitum and Boulogne and in the time of the Romans likely linked by the same trade routes which would still be operative in 480AD. In particular trading valuable metal and metal artifacts. An alternative to this idea is discussed at the beginning of the listing, although very similar. King Icel of Mercia c515 AD isreported in the 13th century manuscript known as theFlores Historiarum: “Pagans came from Germany and occupied East Anglia, that is, the country of the East Angles; and some of them invaded Mercia, and waged war against the British..... Eomer was Icel's father. His name meaning 'Eoh' 'brave with horses' - and 'Mer' presumably 'sea'. Eomer is considered a direct descendant (together with the other kings of the 'Seven Kingdoms' of 'England) of Odin. All of this imagery appears on the present artifact. (Horse, Ship, Odin himself) thus relating the present artifact to King Icel himself, and the imagery weaving legend with historicity. Whilst the workmanship may have been from the South of England, Such artifacts would have gained a reputation throughout Britain and undoubtedly made for nobility everywhere.PrefaceOne must realize (as I did not at first until I contemplated the amazing interplay of imagery) that the time period and images on this artifact are pre-christian. As such they are and it is not just a symbolic motif/s. If one accepts the Odin interpretation of the artifact; this is an actual artifact which was in reality worshipped by a people who worshipped Idols themselves. It itself would be venerated as a God. This explains the manifest complexity and interwoven imagery and it's metamorphic character which such peoples would attribute to actually derive from the action of Loki upon the artifact. Woven by Loki. The ability to manufacture such imagery would be given by the god 'Smith'. (as in a metal smith). In this respect - it's not often that one sells a god on ...but here it is. Not that dissimilar to the similarly sized bronze statue of Odin, shown in the first picture, as now exists in a Swedish church. One could indeed make the argument that this artifact is indeed a church of itself. As an Idol, a place where its' devotees would worship. In order to make the magic boar 'Gullinbursti', Loki had the the elf-forger, add a boar's skin into the metal from which he made it. Who knows what was added to the metal of the current artifact??? Testament to the magic that is in it, is, like that in the Sutton Hoo hoard, that it is here, now and it is still telling its' story... even moreso than the Sutton Hoo hoard...and after having been buried for more than 100 years longer.....
Considering this is only 40 mm long, it contains an immense amount of interwoven imagery , in which, rather astoundingly, each motif is clearly resolvable despite it's metamorphic, superposed interweaving of separate elements. It is hard to imagine the level of skill it took to produce. I did not see the head of a bearded warrior with his ridged helmet (or possibly with chain-mail lower), though as clear as day, for many months (and possibly Odin - especially interlaced with the image of the horse with the left eye significantly larger than the right) and after taking hundreds of photos of it. The warrior's appearance adds a significant clue as to the artifact's purpose, especially when combined with the depiction of a boar. Indeed it is easily possible to believe that this complex and beautifully depicted object of itself, was an object that was worshipped in Pagan Idolatry. The image of the warrior - or Odin as a warrior, adding a purposeful and powerful collective and synergistic intent, rather than the individual images merely serving the purpose of decorative adornments. (it is not impossible that the image of a warrior with a ridged helmet also shows the attachment of a nose-piece like this very artifact - one can judge for oneself from the images above). In combination with the image of the warrior, the presence of a hinge at one end (the other incomplete) with residual iron infill, still in it, suggests that this was a part of a hinged nosepiece as seen on germanic contemporary 6th century Barbute/grimhelm style helmets) Thus whilst one can dismiss artifacts such as the 'Horncastle boar' (shown above) and others merely as aesthetic adornments, because they lack context,... the presence here of a warrior or equally likely - Odin himself, wearing a ridged helmet, clearly places the context of the present artifact within a warring, militaristic Idolatry zeitgeist (So the object literally a God - and as such the ultimate defense or offence.). And likewise the addition of the warrior paints the other imagery on the brooch within this context and colours their interpretation together with the integral warrior / god as a combined totem or expression of supernatural/natural power. Perhaps this expression seen at the time as a synergistic projection of the qualities imbibed by each separate motif in the manner of 'The Holy Trinity', indeed connecting the natural and supernatural. And upon reflection, it might indicate that a helmet should bear certain, supernatural images, if it is to be successful. If the warrior is Odin, one must be aware that Saxons worshipped idols such as this very artifact.. A similarly sized bronze representation of Odin is to be found in a church in Sweden. The purpose of the imagery on a helmet, as much 'superstition' and pagan religion, as serving any 'practical' (in the modern idiom of the word) defensive or offensive function. And that such complex imagery can be contained in such a small pendant would allow greater effort and expense to be concentrated on the functional parts of a helmet. One could consider this very (small) object as, in actuality, a distillation of all of the imagery seen on the (later) Sutton Hoo or other helmets.(Indeed perhaps the images on that later helmet, and otherssaxon helmets, de-convoluted from the those on the present artifact). As an obect - a God in itself, no image could be more powerful. The idea is embodied in The Ship of Odin appearing in the top frieze, 'Skiobladnir'. Which, according to the saga, could be folded up and put in one's pocket. (Exactly as it is manifest here) Indeed one could contest that the later Saxon helmet of Sutton Hoo, with such overt and massive imagery might be a response to the power of Idolatry, as embodied in the present artifact, coming under 'attack' from the growing Christian religion. Requiring a greater show in belief of the idols adorning it. I would contest that the key difference between the current artifact and the Sutton Hoo helmet, is the exposition of of the 'Midgard Serpent' as a device used to link all things on the Sutton Hoo helmet. (as it bound the earth together in the sagas). The serpent , one feels is 'missing' on the present artifact. (although I might just not have seen it yet - although it's scrolled serpentine depiction is not present)This exposition of the serpent in the Sutton Hoo and in more modern artifacts than the present might be a response of Norse inspired paganism of the Saxons in confronting and rebutting the central and overt creation myth of Christianity. (In which the world is bound by God, rather than a serpent) One might observe that if this artifact was combined with the Shorwell helmet, even in it's current decrepit state of that helmet, or indeed that from Benty Grange, substituting for the cross on it's nosepiece, this would look good, in fact phenomenal.. And would be a focal point adorning any utilitarian helmet. (which would be unlikely to survive 1500 years) the image of the warrior or more likely Odin, is a rather amazing 'find' within a find, a touchstone for not only interpreting other imagery on this artifact but the association of images portrayed within the brooch, is suggestive that superstition or pagan belief and in fact 'Idolatry' - the actual worship of such an artifact; would play an important part in the use of armour. One might observe , that when viewed from a superstitious level, and a pagan religious level, perhaps the eyes of the boar combined with those of the warrior, (or Odin himself) and of Odin's horse, might (would in actual fact) serve to provide sight when the warriors vision is impaired, perhaps by a mask. And might give the fleeting impression to an opponent that the wearer can see something which, in fact, he cannot. Or even perhaps he was, in actual reality, given such sight as he might need by Odin himself as incarnate in this 'artifact'. Was this the real secret of the military success of the Vikings? They physically brought their gods, wore them, with them?? The level of detail and it's thoughtful exposition would undoubtedly mean that this was very highly valued and was displayed centrally - likely on the nose-piece of a helmet. Like the cross on the Benty Grange helmet (and performing the same function). Being an earlier date that the Benty Grange helmet suggests together with the imagery that this is from a pre-christian helmet. In a particular world where such artifacts as this were of themselves worshipped. Perhaps this is a missing piece of two undecorated (the Shorwell helmet etc., mostly complete anglo-saxon helmets.(copyright 26.07.2023) The crest on the Benty Grange Boar-crested anglo-saxon helmet - (described as the most valuable artifact in Sheffield City Museum) has the same sized face as seen on the boar depicted on the present bronze artifact (40mm) . Moreover it has the same ovoid-lenticular eyes with accented pupils as seen here. Additionally, its depiction on the Benty grange helmet, using shiny golden detailed highlights against a black patina is seen in the present artifact. Indeed although below I have described it as a brooch, it would be possible to affix to a helmet using its' hinge as shown. In support of this - the lower part of the 'brooch', taken in isolation from the metamorphic depiction of a horse and boar, of which it is a part, very clearly is the depiction of a warrior with a crested helmet. The image - on it's own, is intimidating - which would have been one of the purposes of such helmets. And it is highly possibly indicative of the function of the 'brooch' as attached to a helmet or armour of some kind. Its' purpose perhaps similar to wearing a crucifix, but rather with pagan imagery (the later Benty Grange helmet also having a Christian cross on its' nose guard) and representing a belief system, especially as discussed below regarding Norse gods, perhaps including a cult of the horse as reflected in the similarity of its' horse motif, to the the celtic 'Stanwick horse' . Its hinge, clearly used to attach it to something, as evidence by the remnants of a magnetic (iron) material in it's top hinge, might allow movement, enabling it catch the light and so to be more visible than a static pendant. However and quite significantly, the present object dates at least 100 years before the Bently Grange or other proven decorated Saxon helmets, all of which depict the boar as it is seen here. One could surmise therefore that the decoration on all of those helmets evolved from the iconography seen and described here (for the first time in history) on the present artifact. Moreover it is generally believed that such decorated helmets had a significant if not totally ritualistic purpose. Certainly the boar is the most distinct natural form on all of those helmets. Their style however appears to be derived from that seen on the present object. Making them the off-spring of this particular 'brooch'. Their form is indeed predicted from the earlier image manifest on this artifact. There is no written narrative in Britain of the period between the leaving of the Romans in 420 AD and Bede's writing hundreds of years later.I believe this in part to be due to the growing pangs of the English language, derived from the necessary complex attribution of meaning to objects and actions in a multi cultural, multi-belief Environment derived from the mixing of European and Romano British. As a result however I believe individual crafted objects from this period evolved numerous metaphorical meanings, taking the place of words and literature. The British museum website - in discussing the imagery on the Sutton Hoo hoard observes and identifies the complex and often nested meaning within such objects. The present object - beautifully formed and elicited - is no different. Belying it's 40 mm. A very similar brooch to this is shown in Hattatt 1989 book, where it's date is given as 500-520 AD as shown whilst another discovered by Phil Harding on the government antiquities website as shown below, also very similar is dated to 480 AD. It is of similar size to the face of the boar seen on the Benty Grange boar crest upon the Anglo Saxon helmet; described on the Sheffield Museum website as the most valuable artifact in Sheffield Museum. And the shiny bronze detail on its dark patinated background, and its' detailed depiction of a boar's head appears exactly similar to the boar crest on that helmet.It was found at an estate sale in Warington which is not that far from Sheffield. Before I warmed it and quenched it in liquid Nitrogen in order to remove it's black encrustation, there was no detail on the top part of the brooch as shown. When the encrustation cracked away and the brooch given a light polish with 'brasso' - bronze highlights delineating detail against a dark patinated background became evident as shown. Like both the Hattatt and Harding brooches a stylised elongated horse's head is manifest which looks like the 1 meter long Celtic horse's head with flared nostrils called the 'Stanwick Horse' from 100 BCE as shown. However, on the brooch, the eyes of the horse are cast as long cylinders, the end of which are free from dark patina and highlighted by polishing. The horse's right eye is significantly smaller than it's left. If the brooch is inverted, a boar's head becomes apparent whenupon the cylinders forming the eyes of the horse transform into the tusks of the boar and the nostrils of the horse then become the eyes of a boar. Cleverly, both images are distinctive and unambiguous. Above the horse's head - linked by a bridge (as seen on Saxon Great Headed brooches and as shown above) is a rectangular frieze with cast-in detailed topography which is accentuated by polished bronze highlights, which contrast with the the dark patina retained in recesses in the cast 3D topography. It appears that this frieze contains a boat with two sails and possibly two masts carrying a figurehead on the bow, not unlike that of a Viking boat. (all as shown above.). This very image is also see on the Morini gold 1/4 stater coin from 70BC. Highly significant in this respect, the last and only record directly attributed to and of the Morini tribe, subsequent to the evidence of the 1/4 stater coin, - who inhabited the Pas de Calais (around modern day Boulogne) - was in the 5th century, in an audit of Roman occupied lands called the'Notitia Dignitatum'. The exact date is unknown, other than it was highly likely in the 5th century AD, but it is reasonable to assume that the tribe may have regained it's pre-Roman identity, at least in Britain, as evidenced by the present brooch, when the Romans abandoned the Saxon Shore between 400 and 450 AD. In the meantime, the evidence of the present brooch suggests, through a period when there is no archeological evidence of the Morini, that the Morini were absorbed into the Roman fleet 'Classicus Britanicus' which guarded the English channel, the name Morini meaning 'sailors' or sea-farers. It is possible that their original geographic origin was similar to the Vikings but perhaps lacking the technology of the large ships, and perhaps of the leadersip of the later Vikings. One might believe, from the evidence seen on the present brooch that the image of the ship on the coin persisted through the era of Roman occupation of Britain, and appeared again as seen here after the Romans departed and the discovery of the present brooch combined with the existing coin, together have now become in effect the 'coat of arms' and evidence of the continued existence of the Morini after the Romans left. Making the brooch very important in this context alone. In the absence of any other archaeological evidence and with no written or recorded narrative, the present brooch gives vent to the existence of a whole tribe, even if perhaps absorbed into a post-Roman Britain as is evident in the a(DNA) evidence of the Adventus Saxonum. It is not inconceivable the the brooch's owner arrived in Britain with the Roman fleet and continued trading on the the routes established between the forts of the Saxon shore, after the Romans left. In actual fact, one might note, that there was a fort of the Saxon Shore, at Anderitum; and metals and metal artifacts were traded from the area around modern day Hastings as evidenced by a mint established there sometime in the AD600s. There was also a Fort Of The Saxon Shore at Boulogne, described in the Notitia Dignitatum; the home of Morini. I proposed in another listing that the area around Hastings , before the arrival of the Saxons was inhabited by a tribe called the Hestengas - as indicated on the Bayeux tapestry. And I interpret 'Hestengas' as deriving from the Danish, 'Hest' meaning Horse and 'Engas' derived from old English meaning 'followers'. Suggesting that the area was occupied by a semi-nomadic peoples who lived off of and traded horses. (in fact, I suggest that they would conspire with and supply the horses of William's calvary in 1066, to free themselves from the Saxons who were farmers and land-owners. (suggesting the word 'Seaxe' itself to primarily represent a 'plough')) In the context of this history, the image of the horse on the brooch is suggestive of; together with it's nose-strap, -indicating it to be domesticated, unlike the subtly but significantly not so defined, Celtic, Stanwick-horse; representative, not only of someone who owned a horse but perhaps related directly to the Hestengs themselves. Not inconceivably directly or by marriage. This idea is supported and given context by the metamorphic image of the boar appearing when the brooch is inverted. A similar image of a boar appears on the crest of all of the decorated Saxon helmets so far discovered in Britain (and there are only four), and indeed it is not beyond possibility that the present brooch actually derives from the crest of a helmet or head wear. Look for example at the Horncastle Boar as shown above which is the same size as the present 'brooch'. Indeed the present brooch perhaps shares more in common with the crest Boar on the Benty Grange helmet than does the Horncastle Boar, as it's eyes are clearly ovoid-lenticular in form, with it's pupils separately highlighted by polished bronze rather than the cabochons of the Benty Grange - or Horncastle boars, but the ovoid form and accent pupil, exactly as seen on the Benty Grange helmet, although the present brooch shares the concentric contoured circle around the eye seen on the Horncastle Boar. Indeed it may well be that the image of the boar on Saxon helmets could be re-interpreted in the metamorphic context described here. In the round - the boar believed thus to represent bravery or a warrior of high status and to derive from Saxon history. Hence the metamorphic boar / domestic horse, suggests the marriage of Saxon (land owner [the Morini likely having North European origins]- perhaps ship owner) and nomadic (horse) tribe. The boat, together with the fact of both Boulogne (home of the Morini) and Anderitum (home of the 'Hestengas') being Saxon Shore forts and therefore primary trade routes, especially dealing in metal artifacts, suggesting the brooch representing a marriage of Morini and Hestengas, given rise to by a long established continental trade, especially in metals, of the Saxon Shore forts on both sides of the channel. Moreover - the treatment of bronze with sulphur rich compounds to give a black patina as seen on the present brooch was long established in Roman bronze and perhaps reflects the Roman connection in the history of the brooch. All of this is suggestive of the context, origin and derivation of the present brooch. However one may deduce another level of metaphor in the imagery of the brooch, over and above it's more obvious interpretation and which gives more support and a deeper insight into the general hypothesis described above. The fact of the left eye of the horse being significantly and manifestly larger than the other, more than echoes the saga of Odin; who sold his right eye in exchange for the knowledge in the well of Mimir. Because of this, Odin is depicted with one eye in much extant Viking archaeology. One might suggest that the representation of the horse with a significantly smaller eye represents 'A Wink'. It is an indication that it's owner still believes in Odin and in particular the Norse belief that success as a warrior and as a 'tribe' depends primarily upon wisdom or cunning. (along with the boar that might represent bravery and technical fighting prowess) Indeed the metamorphic nature of the 'horse/boar' imagery is indicative and is actually representative of the Norse belief in the God Loki, who's prime talent was that of a 'shape-shifter' - being able to change from boar to horse.(which is done exquisitely and manifestly on this brooch). Moreover, Loki gifted Sleipnir, the 'greatest horse' (and Loki's offspring) to Odin. So the combined imagery of the 'wink', the horse and the boar together are and become in their manifestation in this brooch, a strong Norse or Northern Europeanallegorical totem. Likewise the ship would bear not only the individual wearing the brooch but also these beliefs (made real in the 'ritualistic' representation or allegory of the brooch). It thus contains a powerful symbolism, not just of the Adventus Saxonum - which of itself is a 'modern idea' - and in this context, of itself, makes the brooch an important artifact in it's own right, (telling the story that genetics now can tell) but it tells quite elegantly of the beliefs brought with the continental Europeans whose blood intermingled with the Romano British population immediately after the Romans left. And it tells of a Norse influence - before the Vikings, perhaps brought with the Morinis. (who indeed are suggested by the boat on this brooch which is the same as that seen on the Morini coin, to still be extant as a tribe after the Romans left the channel.- perhaps this brooch, the first and last evidence of this tribe at that time.) If this wasn't enough, it also tells of a trading 'nation' established by the Romans between the forts of the Saxon Shore which would continue after the Romans left, not least to produce the present brooch, but also which would be a vehicle for the transposition of peoples across the channel..explaining the Adventus Saxonum as a continuation of trade across the channel after the Romans left. Moreover - perhaps the brooch's crowning glory is that it is indicative of a cult of Odin through its expression of a belief in the value of wisdom, (including the hidden military, technical wisdom of the 'Viking' warrior). In particular and rather amazingly, as expressed by a 'wink'. Such wisdom would only be communicated by a 'cult' (or a 'wink') as there was no or little disemination of knowledge by the written word. Perhaps this is the very origin of using the 'wink' as a gesture of the power of hidden knowledge, as expressed directly for the first time in this very brooch c480AD (copyright 09/04/23). (The dark patina left after the removal of encrustation is likely due to the historical treatment of the bronze at manufacture with a sulphur rich compound. This was found extensively on Roman artifacts. This would protect those parts of the brooch from encrustation, leaving other parts unaffected as is seen. The dark patination appears to be a hard highly fissured surface which resists polishing, allowing the exposed bronze to be accentuated when polished and in conjunction with the cast-in detail.) An after thought is that a rune might be depicted, derived from the masts, spars and sails of the boat. I don't know what it means . If it is a rune or a conjunction of runes they might be difficult to interpret following the Danish discovery of similarly dated, early runes, which proved difficult to decipher, without reference material from this age.Personal toolCounty PagesLeicestershireLeicestershire BlogPeriodsEarly MedievalIs This Klapperschmuck, Or Something Even More Obscure?Is This Klapperschmuck, Or Something Even More Obscure?Posted on13th July 2015byHelen Geake
An enigmatic object has been found and recorded in Leicestershire by Phil Harding*. The record can be found here:LEIC-D62660. At first sight it looks like a fragment – part of the foot – of a narrow cruciform brooch, a bit likeNMS-512284(see picture). Narrow cruciform brooches are one of the earliest kinds of Anglo-Saxon women’s brooches, being found in cremation and inhumation graves at least by the mid fifth century, and possibly even earlier.
LEIC-D62660– found and recorded by Phil Harding. Copyright: all rights reserved. Licence: CC-BY-SA.NMS-512284– an almost-complete narrow cruciform brooch. Copyright Norfolk County Council. Licence: CC-BY-SA.These narrow brooches are more common as metal-detector finds than in graves, suggesting that they were being worn – and lost – before the Anglo-Saxon fashion of furnished burial had really caught on. Perhaps they were being worn by immigrants from Germany, perhaps they were being worn by women who had been girls in late Roman Britain but who now wanted to follow the new fashions. We may never know, but certainly these brooches are tantalising evidence of the start of Anglo-Saxon England as it develops out of the chaos of the late Roman world.
The story could end there, but I think it’s worth following a bit further. Phil’s brooch has an unusual feature right on the end of the horse-head terminal. Look carefully and you will see, instead of the conventional nostrils, a cylindrical perforation drilled right through the brooch from side to side, and now filled with iron corrosion. What’s going on there?
There is a group of early Anglo-Saxon cruciform brooches that have little projections at this end, pierced from side to side to take a pendant. In Germany, where they are also found, they are known asKlapperschmuck– rattle-jewellery – because when these are found intact in graves, they often have one or two little pendants, often quite flimsy, attached to the end, which rattle about.
LEIC-B9E3F4– the end of a cruciform brooch with intact loop and small attached ring. Copyright: Leicestershire County Council. Licence: CC-BY-SA.We now have over a dozen fragments of these rattle-brooches recorded on the Portable Antiquities Scheme database – but none quite like Phil’s. All, until now, have had little narrow loops, almost all broken – although there is one, from Wanlip in Leicestershire, that is intact, with a little ring still held by the loop (LEIC-B9E3F4). Maybe Phil’s object is just an unusual variant of a rattle-brooch, but we felt we should investigate other possibilities.
Might we have been holding it the wrong way up? Once turned upside down, Phil’s object begins to look a bit like another early Anglo-Saxon woman’s dress accessory, this time a girdle-hanger. Girdle-hangers are long key-like objects that appear to have no purpose except to hang from a woman’s belt, again no doubt clattering and rattling. They can have very similar horse heads at the top of their long shanks, looking upwards. An example from the PAS database (pictured) isNMS-BF0AF7. But although this identification is possible, most girdle-hangers tend to be fairly flat on the reverse, and to have narrowed loops. Again, Phil’s new object isn’t very like any of them.
NMS-BF0AF7– a girdle-hanger with animal-head terminal below loop at top. Copyright: Norfolk County Council. Licence: CC-BY-SA.So we have to start trawling through the more unusual objects. One that’s been intriguing us for a while isBUC-8EDFD4.
BUC-8EDFD4– could this be a buckle? Copyright: Buckinghamshire County Museum. Licence: CC-BY-SA.This is a very mysterious item, and although we have recorded it as a ‘buckle’ because of its hinge and pin, it really isn’t like any other buckle known. It is again almost certainly intended to represent a horse (although some have pointed out that in fact it looks more like a crocodile, especially from the side) and again it resembles a narrow cruciform brooch.
The trouble is, Phil’s object has broken at the top, so we don’t know if it originally ended in hinge loops likeBUC-8EDFD4. Also, there are other holes throughBUC-8EDFD4running the other way – as if it was fixed onto something, maybe a box or piece of harness.
We aren’t really any further in discovering what these two peculiar objects are. What the work of the PAS and its volunteers is showing us is that there is far more variety in ancient objects than we ever thought before the Scheme began, and that even if we don’t know what something is, if we record it carefully, then probably something else will eventually be found that does let us identify it – and allows us to understand what it can tell us about the past.
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