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The medieval marketplace is a familiar setting in popular and academic accounts of the Middle Ages, but we actually know very little about the people involved in the transactions that took place there, how their lives were influenced by those transactions, or about the complex networks of individuals whose actions allowed raw materials to be extracted, hewn into objects, stored and ultimately shipped for market. Twenty diverse case studies combine leading edge techniques and novel theoretical approaches to illuminate the identities and lives of these much overlooked ordinary people, painting of a number of detailed portraits to explore the worlds of actors involved in the lives of everyday products - objects of bone, leather, stone, ceramics, and base metal - and their production and use in medieval northern Europe. In so doing, this book seeks to draw attention away from the emergent trend to return to systems and global models, and restore to centre stage what should be the archaeologists most important concern: the people of the past.
The International Conference on Insular Art (IIAC) is the leading forum for scholars of the visual and material culture of early medieval Ireland and Britain, including manuscript illumination, sculpture, metalwork, and textiles, and encompassing the work of Anglo-Saxon-, Celtic- and Norse-speaking artists. The present volume contains a selection of papers presented at the eighth IIAC, which took place in Glasgow 11-14 July 2017. The theme of IIAC8 - Peopling Insular Art: Practice, Performance, Perception - was intended to focus attention on those who commissioned, created, and engaged with Insular art objects, and how they conceptualised, fashioned, and experienced them (with ‘engagement’ covering not only contemporary audiences, but later medieval and modern ones too). The twenty-one articles gathered here reflect the diverse ways in which this theme has been interpreted. They demonstrate the intellectual vibrancy of Insular art studies, its international outlook, its interdiscplinarity, and its openness to innovative technologies and approaches, while at the same time demonstrating the strength and enduring value of established methodologies and research practices. The studies collected here focus not only on made objects, but on the creative processes and intellectual decisions which informed their making. This volume brings Insular makers – the illuminators, pattern-makers, rubricators, carvers, and casters – to the fore.
Early Medieval Art and Archaeology in the Northern World brings together leading experts on the European early Middle Ages in a celebration of the life and work of internationally renowned scholar James Graham-Campbell. The geographical coverage of this volume reflects Graham-Campbell's interests and expertise which ranges from Ireland to Eastern Europe and from Scandinavia to Spain. The new perspectives and original studies offered represent a major contribution to the field of medieval studies, with papers on the art, archaeology, history and literature of European societies between the fifth and thirteenth centuries. Contributors are Noël Adams, Barry Ager, Marion M. Archibald, Birgit Arrhenius, Coleen Batey, Cormac Bourke, Stuart Brookes, Ewan Campbell, Helen Clarke, Martin Comey, Rosemary Cramp, Wendy Davies, Ben Edwards, Signe Horn Fuglesang, Richard Gem, David Griffiths, Mark A. Handley, Birgitta Hårdh, Negley Harte, David A. Hinton, Ingegerd Holand, Judith Jesch, Alan Lane, Mick Monk, Richard North, Raghnall Ó Floinn, Patrick Ottaway, Raymond I. Page, Caroline Paterson, Neil Price, Barry Raftery, Mark Redknap, Andrew Reynolds, Ian Riddler, Else Roesdahl, John Sheehan, Alison Stones, Gudrun Sveinbjarnardóttir, Gabor Thomas, Nicola Trzaska-Nartowski, Patrick F. Wallace, Leslie Webster, Naimh Whitfield, Gareth Williams, Sir David Wilson and Sue Youngs.
Since 1968 several thousand leather artefacts have been recovered in the city of Dordrecht, ranging in date from the 12th century through to the 17th century. At that time, Olaf Goubitz was employed at the Rijksdienst voor Oudheidkundig Bodemonderzoek (ROB) and was able to devote his time to the leather and thus the organic conservation lab was established. Over the years the quantity and importance of the Dordrecht archaeological leather finds made it obvious they certainly merited publication. In 2002 the leather footwear from Dordrecht and other sites was presented in Stepping Through Time. A chapter on Roman footwear by Carol van Driel-Murray and the Prehistoric footwear by Willy Groenman-van Waateringe completed the chronological range. The archaeological leather purses, bags and other small containers from Dordrecht and other sites appeared in Purses in Pieces in 2007. The third book was to cover the knife sheaths and sword scabbards from Dordrecht, numbering more than 300 to date. Goubitz had already begun to draw the decorated knife sheaths from Dordrecht that passed through his hands. The Medieval archaeological leather sheath and scabbard finds from the city of Dordrecht form the core collection for this volume, the third in the trilogy after Stepping Through Time and Purses in Pieces. It was finished by Marquita Volken. As with the previous volumes, a wider picture is presented, thus incorporating chapters on Prehistoric, Roman, and modern period sheaths and scabbards from other sites in the Netherlands and Europe. Sheaths and scabbards are covers for blades, so here scissors, agricultural tools and specialized knives are included along with knives, daggers, and swords. The aim, apart from presenting the Dordrecht collection, is also to provide a framework for research: chronology, typology, decoration styles, plus accessory items like suspension methods, cover-guards and handle grips in leather. A useful research technique for understanding a leather archaeological object is to reconstruct it. A select number of sheaths and scabbards have been reconstructed, providing insights on construction, decoration, and functional aspects. Few prehistoric knife sheaths are known in archaeology due to the rare survival of organic materials. Frozen or very dry, stable environments also preserve organic material but so far the only prehistoric sheath to have been found in ice is the grass sheath from the Iceman. Here is a selection of the sheaths and scabbards of which you can find a reconstruction in chapter 9 of Covering the Blade: - An Early Bronze Age ceremonial axe and leather case come from Ireland. It was discovered in a peat bog at Brockagh, Co. Kildare. - From the Dutch site at Kessel on the Rhine-Meuse Delta the finds of La Tène period swords and sheaths are the remains of a battle between the Batavians and Roman forces. Of the 22 swords recovered four were still in their scabbards. - The Merovingian finds from tomb 11 at the Cathedral of Saint-Denis FR included fragments of a small edge-seamed knife sheath with an attached case for the wood pick. - A decorated leather scabbard cover from Groningen NL, is the source for the hypothetical reconstruction of a seax scabbard. - A thirteenth century sword and scabbard have been preserved as the relics of Saint Maurice, a third century military leader martyred at Agaunum (present day Saint-Maurice, Switzerland). The scabbard has a wood core made of two laths shaped to the blade. - The upper section of a narrow fourteenth century hunting sword scabbard cover from Dordrecht is the model for this reconstruction. The scabbard has a peaked mouth, a reinforcement collar and a centre back closed seam. - The fourteenth century decorated scabbard from Leiden found with 137 other sword scabbards at the Marktenroute site, Leiden, a fourteenth century decorated leather scabbard cover is one of 28 examples decorated by creasing. - A fourteenth century leather scabbard cover from the Statenplein site, Dordrecht NL, is source for this reconstruction. - The nearly complete leather scabbard cover from the Statenplein site, Dordrecht NL, and the lower section of the same type of scabbard from the Tolbrugstraat site, Dordrecht NL, are the sources for the reconstruction of the falchion scabbard. - A fourteenth century decorated leather dagger scabbard cover from the Statenplein site, Dordrecht NL, is the source for this reconstruction. - From the Wood Quay site in Dublin comes an almost complete winged small knife sheath dated from AD 1180-1250. It is decorated with creased motifs front and back. - The edge-seamed Schleswig knife sheath was fitted with a metal half-chape (absent) and a riveted handle section consisting of five straps through pairs of slits and a fringed re-enforcement band. - Among the many fourteenth century sheaths from the Statenplein site is one decorated with a two headed beast. The decoration is made with creased lines and the stippled background made with a fragment of a fine-toothed comb. - A fourteenth century sheath for a large principal knife and a full set of byknives is often called a 'hunting set'. The hunting set sheath found at the Statenplein site at Dordrecht NL had a principal knife, a smaller knife, a honing steel, and a pair of bow spring scissors. - A fifteenth century fragmented sheath decorated with the apple tree motif from the Tolbrugstraat site at Dordrecht NL is the inspiration for a sheath for a knife and byknife honing steel.
This study focuses on the sheaths and scabbards of the Anglo-Saxon period, rather than the blades once held within them. Esther Cameron presents a largely technical approach to the study of material from the period of the first Anglo-Saxons in England in the 5th century, through to the 11th century. Alongside a large corpus of examples, she looks at the nature of the material evidence, of skin, leather and wood, and the composition of the materials used, their decomposition and preservation in the archeological reord. The wider significance of her findings for Anglo-Saxon archaeology and for the study of organic materials form archaeological contexts in general, are revealed in the final chapter.
More wide ranging, both geographically and chronologically, than any previous study, this well-illustrated book offers a new definition of Celtic art. Tempering the much-adopted art-historical approach, D.W. Harding argues for a broader definition of Celtic art and views it within a much wider archaeological context. He re-asserts ancient Celtic identity after a decade of deconstruction in English-language archaeology. Harding argues that there were communities in Iron Age Europe that were identified historically as Celts, regarded themselves as Celtic, or who spoke Celtic languages, and that the art of these communities may reasonably be regarded as Celtic art. This study will be indispensable for those people wanting to take a fresh and innovative perspective on Celtic Art.
This succinct, accessible two-volume set covers all aspects of Celtic historical life, from prehistory to the present day. The study of Celtic history has a wide international appeal, but unfortunately many of the available books on the subject are out-of-date, narrowly specialized, or contain incorrect information. Online information on the Celts is similarly unreliable. This two-volume set provides a well-written, up-to-date, and densely informative reference on Celtic history that is ideal for high school or college-aged students as well as general readers. The Celts: History, Life, and Culture uses a cross-disciplinary approach to explore all facets of this ancient society. The book introduces the archaeology, art history, folklore, history, linguistics, literature, music, and mythology of the Celts and examines the global influence of their legacy. Written entirely by acknowledged experts, the content is accessible without being simplistic. Unlike other texts in the field, The Celts: History, Life, and Culture celebrates all of the cultures associated with Celtic languages at all periods, providing for a richer and more comprehensive examination of the topic.