Somme 100 – Huddersfield Drill Hall Commemoration

On the 1st July 2016 a commemoration was held by the Lord Lieutenant of West Yorkshire at Huddersfield Drill Hall to honour the Yorkshire Regiments that had been engaged in the Somme Offensive 100 years earlier.

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Somme 100 commemoration

After the presentation of the colours a traditional Drumhead service was held by Canon David Wilkes (Chaplain to the Yorkshire Regiment) and moving letters from the front were read by current members of the Yorkshire Regiment.

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Return of the Colours after the Drumhead Service

The band of the Yorkshire Regiment played the regimental marches and members of the Light Infantry Buglers Association performed a fanfare for the Colours, and later the Last Post. The commemoration ended with a poignant Volley Salute by two soldiers using Lee Enfield Mark III rifles; each shot marking the death of 2,000 soldiers on the Somme.

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Volley Salute using historic Lee Enfield rifles

The First World War Archives Project team from the Royal Armouries museum and partners from Bankfield Museum, Clifton Park Museum, Doncaster Museum and York Army Museum, were invited to present displays of archive material relating to the Somme offensive and to share upcoming events commemorating World War One. Reproductions of Battalion Orders, personal accounts, Battalion War Diaries, Trench Maps, recruiting material and other contemporary items were displayed to give a fuller picture of the ‘Big Push’. The displays and material provoked a great amount of interest, with many attendees sharing their own Somme connections.

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First World War Archives Project Display

Our thanks go to Angela Clare from Bankfield Museum, Lisa Broadest from Clifton Park Museum, Steve Tagg and Victoria Ryves from Doncaster Museum, and Major Graham Green and Hannah Rogers from York Army Museum for their hard work.

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Victoria Ryves with the Doncaster 1914-1918 Display Stand (Photo used courtesy of Doncaster 1914-1918).

New acquisition: the Missaglia Breastplate

On 29th June, at the Thomas Del Mar sale, the Royal Armouries purchased a rare breastplate by a famous family of armourers, the Missaglia family.

208-1The breastplate is stamped with the armourer’s mark of the Missaglia family: a Lombardic ‘M’ under a split cross on the right shoulder. The Missaglia’s were the foremost armourers of the Middle Ages, working from their famous workshop in Milan. This breastplate was made by Giovanni Angelo Missaglia (recorded 1504-1529), a third generation armourer of the Missaglia family. Giovanni was the eldest son and heir of Antonio Missaglia, who himself was the eldest son and heir of Tomasso Missaglia – who first adopted both the Missaglia name and mark.

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This breastplate bears the same armourer’s mark as that on the great bacinet of the Royal Armouries’ Henry VIII Tonlet armour, which Henry wore at the Field of Cloth of Gold tournament in 1520. For the tournament, this great bacinet made by Giovanni Angelo was fitted onto a Greenwich cuirass for the king. Henry VIII had clearly ordered it sometime previously, and retained it in his private armoury. Find out more about this armour in the clip below (1 minute 21 seconds in).

The Missaglia  breastplate is key component of the history, development and use of arms and armour, and compliments many other Missaglia items in our collection – including a kettle hat and visor, a right and left pauldron, a lance rest, a sallet and an upper backplate dating from 15th to the early 16th century.

 

 

Warrior Treasures: Inspired by the Hoard

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Jemma Churchill as Deb – and Deb Klemperer, New Vic Theatre, Stoke-on-Trent May 2015 ©Joshua Val Martin (Twitter)

At the Royal Armouries in Leeds, visitors can see our new temporary exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’, running from the 27th May until the 2nd October 2016. In parallel with the exhibition, the museum is running a blog series providing behind the scenes details on how these fascinating items were discovered, conserved, and prepared for the exhibition. In this post, Deb Klemperer, Principal Curator at The Potteries Museum & Art Gallery, Stoke-on-Trent, (with the help of Paul Bailey, Cultural Development Officer, Stoke-on-Trent City Council) talks about how the Staffordshire Hoard has inspired a variety of artistic responses.

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Paul Bailey (centre back), Nick Dodds Chief Operating Officer Cultural Olympiad London 2012 (back left) and artist Katharine Morling (centre front) Image © Jas Sansi, Flickr

Introduction

Since the discovery of the Staffordshire Hoard in July 2009, there has been an outpouring of artistic responses to the fabulously intricate seventh-century gold and silver weapon fittings and Christian regalia. Visitors to the Hoard exhibitions, craft-workers, jewellers, artists, poets, potters, re-enactors, sculptors and playwrights have all felt inspired to produce work, or have gained funding to develop their work. Some of this has happened spontaneously and some in collaboration with the Hoard’s owners, Stoke-on-Trent City Council (SOTCC), The Potteries Museum & Art Gallery, Birmingham City Council (BCC), and Birmingham Museums Trust.

It has been a really fascinating part of my work over the past seven years to see the many and varied responses to the Hoard. A small sample are highlighted here:

‘Wake the Warrior’  by Naseem Derby

“Wake the Warrior” is a very fine, hollow filigree work stitched from thousands of black threads. The artist adopted the Raven from the Anglo-Saxon epic poem Beowulf as her messenger to explore the mythology and culture of the Hoard. Internally lit on a plinth, her Raven symbolises death as a part of life. It is really moving and powerful.

New Vic Theatre Hoard Festival  

In the summer of 2015, the New Vic Theatre in Stoke-on-Trent, led by artistic director Theresa Heskins, and funded by Arts Council England, put on an ambitious programme of plays, playlets and storytelling all based on the Staffordshire Hoard. It was incredible to watch the process from afar– the research, the interviews, the call for playwrights, the rehearsals – which took place over 16 months of feverish activity. Theresa Heskins wrote a documentary play about the Hoard’s discovery, ‘Unearthed’ which was selected as one of the Guardian’s top ten shows of 2015 http://www.newvictheatre.org.uk/2130-2/

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Jemma Churchill as Deb in ‘Unearthed’ © The Sentinel newspaper Stoke-on-Trent

One of the strangest things for me was to attend a launch evening at the New Vic, feel a tap on my shoulder, and turn to a smiling woman who said ‘Hello Deb Klemperer, I’m Deb Klemperer’ (see top photo, taken shortly after our meeting).

Some of my favourite work was to be found in the table plays – very short pieces performed at one’s table in the bar. The actress Suzanne Ahmed, dressed in a red and gold sari, talking emotionally of being torn away from her southern Indian homeland – and then the slow realisation that she was a garnet, describing her journey from a mine or quarry, to being inset into a piece of the Staffordshire Hoard – was really, really good (The Foreigner by Lydia Adetunji).

See http://www.newvichoardfestival.org.uk/12tableplays/

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Images © Andrew Billington from New Vic’s Hoard Festival ‘Unearthed’ and ‘The Gift’

‘Morling and the Hoard’:
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As part of the London 2012 Festival and Cultural Olympiad SOTCC commissioned Katharine Morling, an award-winning ceramic artist, to create a body of work in response to the Staffordshire Hoard. It was a pleasure to spend time with Katharine, and let her hold the treasure, and answer her many enthusiastic questions. Katharine’s large unglazed ceramic pieces explores the mystic world of animal enchantment and the magic and the power embedded in our ancient beliefs. They are displayed near the Hoard, and elsewhere in The Potteries Museum & Art Gallery.

The Last Dragon Hunter:

image8The Last Dragon Hunter’ is a short film commissioned by SOTCC for broadcast in The Potteries Museum & Art gallery’s ‘Anglo-Saxon Kingdom of Mercia’ exhibition. Taking inspiration from the Staffordshire Hoard and Saxon myth and legend, the lively film is aimed at children and families. It was brought to life using a mix of live action filmed in the beautiful north Staffordshire countryside and animation by local filmmaker Chris Stone and BigRED Studios. The film tells the mythical story of the Staffordshire Saxon, a  bronze statue by Andy Edwards that stands in the foyer of the Potteries Museum & Art Gallery. It also explores why the hoard may have been buried in antiquity. image9

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Clay, Fire and Gold is a book of poetry commissioned by SOTCC to reflect on the city centre. Staffordshire Poet Laureate Tom Wye wrote 11 poems excerpts from which have been engraved into the city centre pavements. The book will be launched at the Hot Air Stoke-on-Trent Literary Festival at the Emma Bridgewater factory in June 2016. http://www.stokeliteraryfestival.org/

Quotations from ‘The Hoard’ appear in the pavement adjacent to The Potteries Museum & Art Gallery. It is a marvel to me how much this chance find in a Staffordshire field by a metal detectorist  has touched so many lives, inspired so many people:

“Steeped in mystery from beyond the mists.

Buried through years on a scarred field,

Reborn is the Staffordshire Hoard.”

To find out more about the Royal Armouries exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’ please visit our exhibition microsite http://warrior-treasures.uk/

Images not credited are ©Stoke-on-Trent City Council.

Warrior Treasures: ‘Look beyond the gold!’ meet Chris Fern, Lead Specialist.

IMG_1010At the Royal Armouries in Leeds, visitors can see our new temporary exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’, running from the 27th May until the 2nd October 2016. In parallel with the exhibition, the museum is running a blog series providing behind the scenes details on how these fascinating items were discovered, conserved, and prepared for the exhibition. In this post,  Anglo-Saxon specialist Chris Fern, lead researcher on the Staffordshire Hoard, encourages to ‘look beyond the gold’ of this Saxon treasures… 

The Staffordshire hoard is an extraordinary treasure of the 7th century, found in 2009, that is providing a new window on England’s early history in a time of forming kingdoms and changing beliefs.  In the period, the eastern half of the country was split into numerous Anglo-Saxon kingdoms, many in regions still recognised today, including East Anglia, Northumbria, Kent and Mercia. These kingdoms fought each other frequently, and also campaigned against British kingdoms in the west. The competition was for territory and resources, but casual raiding for livestock and in pursuit of slaves was probably also commonplace. Above all gold was the prize most desired, and at this period, when coinage was still rare in England, the metal was transformed into beautiful objects. Kings used these treasures to reward loyal warriors, creating bonds of fealty which underpinned political power.

Gold — noblest of metals, bright and incorruptible – is the instantly defining attribute of the hoard. Similarly it is woven through the fabric of the famous Anglo-Saxon poem, Beowulf. Not since the great kingly treasure of Sutton Hoo was discovered in 1939 has a single find so captured the imagination of Anglo-Saxon scholars and the public alike. Each of the finds of the hoard would ordinarily be a rare prize. Yet, the find from a field in Staffordshire makes clear as never before that the warrior ranks of early England were bedecked with golden weapons, transformed by expert artisans into beautiful works of art. The glittering blood-red garnets inlaid on many of the objects were also well suited to the business of the battlefield (Fig. 1).

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Figure 1. Pommel no. 52 (K284, K327) in gold and garnet cloisonné. One end was found torn off. © Birmingham Museums Trust.

Quite literally the ‘devil’ is in the detail. To see this one must look beyond the gold of the objects. By closely examining them, deeper messages are revealed, wrought in the metal. The art of the hoard was not simply decoration, but conceals in many cases creatures and other symbols that relate to the traditional pre-Christian ‘pagan’ and new Christian beliefs of the warriors. In many periods in the past, soldiers have worn or carried symbols of belief, to give divine protection on the battlefield. The objects of the hoard served the armies of kingdoms in a time of great change, with the coming of Christianity to pagan England, that challenged long-held beliefs.  In some cases, sword pommels and other objects bear motifs from both traditions, depictions of battling beasts that relate to paganism, as well as crosses. Pommel no. 52 is one example (Fig. 2). In these cases the individuals who owned the weapons may have been seeking protection from the gods of both faiths. Paganism was not an exclusive doctrinal faith like Christianity and there is one famous account of an Anglo-Saxon ruler setting up altars to pagan ‘devils’ and Christ (Bede HE II.15).

The manufacture of the objects is also incredible to behold, though a magnifying glass is often a necessary aid to appreciating this. The gold wires used in the filigree decoration were handmade to as little as 0.2mm, and each garnet stone was individually shaped. Some of the garnets may have come from as far away as India. We know little of the craftsmen who made the objects. The famous legend of Weland, tells of a smith hamstrung and forced to work on an island by a king. It is possible the smiths who made the hoard objects were also bondsmen in royal service, tasked with creating kingdom styles.

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Figure 2. Pommel no. 52 (K284, K327) showing the combining of religious beliefs. One side has a geometric pattern of rounded and triangular arches, evoking classical architecture, and at the ends are Christian crosses; the other side shows a motif of a pair of embattled beasts, with disembodied bird beaks at the ends, and probably had pagan meaning. © Drawing Chris Fern/Barbican Research Associates.

As the lead specialist working on the collection, it has been my privilege to work on unlocking the secrets of the hundreds of objects, a process that will long continue.

Remember to look beyond the gold!

To find out more about the Royal Armouries exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’ please visit our exhibition microsite http://warrior-treasures.uk/

Join our Warrior Treasures exhibition conference Saturday 11th June to hear from leading experts in the field, who will explore the many aspects of this remarkable Anglo-Saxon find and explain how it is adding to our understanding of the people that made, used and buried this magnificent hoard. Please see full details and purchase tickets via the Royal Armouries website.

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Warrior Treasures: hear from the blacksmith, Stuart Makin

At the Royal Armouries in Leeds, visitors can see our new temporary exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’, running from the 27th May until the 2nd October 2016. In parallel with the exhibition, the museum is running a blog series providing behind the scenes details on how these fascinating items were discovered, conserved, and prepared for the exhibition. In this post, we heard from blacksmith and artist Stuart Makin who has made a stunning sculpture inspired by the objects of the Staffordshire Hoard which you can see in the exhibition.

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My name is Stuart Makin, I run a blacksmithing company called Iron Forged Designs in Northamptonshire and I was commissioned to design and make a piece of metalwork inspired by elements from the Staffordshire Hoard. This piece of work is currently being exhibited alongside artefacts from the Hoard in the Royal Armouries exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’.


I have been a blacksmith for 13 years, both of my parents are engineers, a path I wanted to follow myself, however I was gifted with being quite good with my hands but lacking in the intelligence needed to be an engineer. Blacksmithing presented a balance that was more hand craft than engineering but still contained enough of the latter to convince myself that I was following in my parents’ footsteps. Numerous evening classes, college courses and an apprenticeship later I found myself as an arrogant and talented young man who believed I could do better than any of the employers I had worked for. So I put my money where my mouth was and set up my own business with a fellow blacksmith, Ben Landucci. Running my own business has made me a slightly older and slightly humbler man.

Picture1I am trained as an Artist Blacksmith; I love to combine traditional techniques with more contemporary designs to produce unique pieces of metalwork. However, I have another love, one that has been nurtured since being old enough to pretend sticks were swords and bin lids were shields, history, particularly Anglo-Saxon history. I make historical replicas, researching an original object and trying to reproduce it as accurately as possible, I love the connection it makes between me and an ancient craftsman from hundreds of years ago. The reason this slightly rambling tangent is important is because the commission from the Royal Armouries had enabled me to combine those two facets of my blacksmithing into one sculpture. I have had the opportunity to indulge myself in research of the artefacts from the Staffordshire Hoard (in work time too!!!) and flex the creative muscles to design and create something that pays homage to the skills of the Anglo-Saxon craftsman.

Gold Hoard Images created by BM&AG

K370 – Gold and garnet hilt collar from a seax or single-bladed knife © Birmingham Museums Trust.

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K1084 – Gold and garnet cloisonné bird mount from a hilt © Birmingham Museums Trust.

The objects from the Hoard are so tiny, intricate and beautifully made, however, I decided to produce a large sculpture 2.5 metres tall and the purpose for this sheer size in comparison to the original artefacts is that I wanted to convey the magnitude of importance that the Staffordshire Hoard has on our understanding of Anglo-Saxon warrior culture, history and craftsmanship. My design was influenced by some of the artefacts I found most inspiring from the Staffordshire Hoard. The pieces that stood out to me the most were the seax hilt fittings and the eagle mount. I kept going back to those intertwining beasts on the seax fittings and wondered how I could incorporate something like that in my work.

Picture3It was important to me to try and give a glimpse to viewers of my sculpture the various stages of how the beautiful cloisonné sword fittings would have been made. The central portion of the sculpture acts as a visual pathway drawing the eye upwards from the bottom where the design is engraved to the centre where the design is cut out to demonstrate the cutting of cells ready to have garnets inlaid. The top of the piece has the cells fitted with red transparent Perspex to show the fitting of the garnets. The transparent red Perspex also allows light to pass through making a stained glass window effect and really emphasizing the colour that makes the objects from the Staffordshire Hoard so distinctive.

I feel I have had the opportunity to get as close as possible to the real Anglo-Saxons who made and used these artefacts, even though technology and equipment may have changed (I am blessed with power tools those poor fellows were not) skills and techniques used are still similar. I like to think that the Saxon craftsman would have sat back after finishing his work and have a sense of quiet pride in what he had accomplished in the same way I have done with this sculpture. I hope that my work will help people who come to view the exhibition get that same feeling that I have, that the Anglo-Saxons are not just skeletons to be resigned to glass cases in museums but that they were human beings, some with the talent to produce beautiful warrior treasures.

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Warrior Treasures: Conserving the Staffordshire Hoard

A selection of the Staffordshire Hoard will be shown in Leeds as part of the Royal Armouries ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’ temporary exhibition, running from the 27th May until the 2nd October 2016. The Royal Armouries is therefore running a blog series providing behind the scenes details on how these fascinating items were discovered, conserved, and prepared for the exhibition. In this post Kayleigh Fuller, Staffordshire Hoard Conservator, talks about her work with the collection and the exhibition so far.

Find out more at our exhibition conference day, Saturday 11th June, see details on the Warrior Treasures exhibition website.

IMG_0567Myself and Lizzie Miller are objects conservators working on Stage 2 of the Staffordshire Hoard Project in Birmingham. Our job involves facilitating the research aims of the project through stabilisation, re-assembly, documentation and cataloguing of the 4000 fragments of Anglo-Saxon treasure found in 2009. Most recently we have been involved in preparation for the touring exhibition ‘Warrior Treasures’. I will visit in May to install the objects and Lizzie will be talking about the conservation work in Leeds on the 11th June.

I’m really excited about the opening of the Warrior Treasures tour in Leeds. First of all because the Staffordshire Hoard Project team have put a lot of work into this touring exhibition, and it shows some of the most stunning and unusual sword adornments we have been reassembling over the last year. Secondly, being from the North, it gives my close friends and family the opportunity to travel and see some of the incredible objects I have been lucky enough to work on.

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Decorative filigree mount from a sword hilt, probably in the shape of a horse, which is included in the Warriors Treasures exhibition.

Throughout my time working on the Hoard, we get to look at the objects and fragments under a greater magnification and through this are able to see the objects in a completely different light. It is very likely that you will see the promotional images for the exhibition and then be astounded at the true size of the objects in reality. I feel that one of my personal favourite items, a horse mount, demonstrates the extreme skill in the craftsmanship of these items. If you look at the magnified image above, a scroll is around 1mm in width and 2mm in length. Each of these scrolls are perfectly curled and made from individually beaded wire.

This year we have been reassembling some complexly designed objects from a mixed array of fragments. The below object is one of three rare pommels with two sword rings attached to either side (http://www.staffordshirehoard.org.uk/three-very-special-pommels). Two of these items are in the Warrior Treasures exhibition.

Initial selection of fragments for the pommel

Initial selection of fragments for the pommel.

Fragments lined up, ready to be joined

Fragments lined up, ready to be joined.

As we have progressed in the task of reassembling the fragments, the objects have developed over time with us. This cast silver-gilded pommel is a prime example of this and shows the unique benefit of close working relationships between the conservators and the archaeological finds expert throughout the execution of the work.

Organic material inside on the right

Organic material inside on the right

The pommel also has some hidden organic material inside the sword rings which we have ensured is stable and preserved in situ, before fully assembling by mounting. See if you can spot it in the exhibition. This is the only item to have a rock crystal as part of its design.

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Silver and gilt pommel.

Another of my favourite pommel caps in the exhibition is the garnet cloisonné one below. If you look at each side in turn, you can see a noticeable different in the stylistic design on either side. One with a geometric arranged pattern and, the other with zoomorphic designs and a curled leaf either side. This makes me think that these items are truly bespoke to the Anglo-Saxon warrior that wielded them.

Geometric design on the back of the pommel

Geometric design on the back of the pommel.

Although initially it might seem counter-productive, one of the most brilliant things about the Staffordshire Hoard is that the objects have been ruthlessly damaged when they were removed from their original mounts. This has enabled us to carry out a thorough and intensive program of research to understand more about the craft techniques and materials used by the mystery Metalsmith’s of the period.

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Two fragments with the break where you can see the construction of the cloisonné cells.

The object above was originally in two fragments before re-assembly. Thorough documentation of every fragment within the Hoard has enabled us to keep a clear record of important details before assembling the final object.
These objects are overall helping to expand our understanding of the Anglo-Saxon period and the society which lived during that time. The exhibition is well worth a visit, whether it is to learn more about Anglo-Saxon warriors, the incredible craft skills and technology of the period or even just to view some incredibly beautiful objects from this unique and astounding archaeological discovery.

All images © Birmingham Museums Trust unless otherwise indicated.

To find out more about the Royal Armouries upcoming exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’ please visit our exhibition microsite http://warrior-treasures.uk/

Join our Warrior Treasures exhibition conference Saturday 11th June to hear from leading experts in the field, who will explore the many aspects of this remarkable Anglo-Saxon find and explain how it is adding to our understanding of the people that made, used and buried this magnificent hoard. Please see full details and purchase tickets via the Royal Armouries website.

Warrior Treasures: Meet Jenni Butterworth, Project Coordinator

A selection of the Staffordshire Hoard will be shown in Leeds as part of the Royal Armouries ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’ temporary exhibition, running from the 27th May until the 2nd October 2016. Here, Programme Coordinator Jenni Butterworth talks about her involvement in the project so far and her favourite elements of the hoard. Discover more at our exhibition conference day, Saturday 11th June, find more details on our micro-site http://warrior-treasures.uk/

IMG_1231I am the Programme Coordinator for the Staffordshire Hoard- I help the two museums that look after it with administration of the collection. I’ve done this job for over three years, but I’ve been lucky enough to be involved with the hoard on and off since it was discovered- I worked on the very first television programme made about it in 2010. It was a real privilege to interview the people who had been involved in the discovery- the farmer and the finder, and the archaeologists who were called in to deal with this extraordinary treasure. For everyone involved, it was a once in a lifetime event- tremendously exciting, but a huge responsibility as well.

I can still remember the very first time I saw the hoard in 2010- it was a few months after it had been discovered, and it was laid out so a number of experts could view it. The objects were still muddy and gathered together in bags and boxes. It was mind-boggling, the sheer number of items as much as the incredible craftsmanship and the gold and garnets. I remember thinking that the hoard was a bit like a comet. There were some fabulous, bright and shining objects at the front- the ones I’d seen pictures of in the newspapers. But there was also a very long ‘tail’- thousands of broken bits and small items that were much less glamorous but just as interesting. I wondered then how it would ever be sorted out!

Today, the ‘tail’ is a lot smaller than it was in 2010- lots of those broken fragments have been reassembled into larger objects- thanks to the amazing work of the conservation team and the archaeologists. The damage to the objects happened before they were buried and the way they are broken gives us vital information about the hoard- so every broken fragment is carefully recorded by the scientists and the conservation team before it is rejoined.

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Xray plate SH_L80a_2013. ©Barbican Research Associates/ Lincolnshire Archives. All the hoard objects have been x-rayed. This plate shows small filigree items, some of which have since been joined to larger objects.

There are still a lot of small objects remaining, and my particular favourites are the rivets, pins and nails. There are quite a lot of objects which still have their pins and nails attached, and you can see them on some of the mounts and pommels in the Warrior Treasures exhibition if you look carefully.

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K16 with pin and mounting tab still attached (2 views)

The way the pins are bent has prevented them from falling out of their housing. Maybe they were bent when the pommel was levered off the sword hilt.

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K16 with pin and mounting tab still attached (2 views)

But there are many gold and silver nails for which we’ll probably never know which object they came from originally- because lots of objects have similar pins, it would be hard to be sure which pin came from which object exactly. Kayleigh has a ‘rivet box’ in which they all reside. I’m not sure she’s as fond of it as I am…

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These tiny pins and rivets really remind me that the objects we have in the hoard only tell us part of the story. Originally, the objects were all attached to other, bigger composite items like swords, and these pins help us understand how they were all fixed together. There are astonishing range of pins of all shapes and sizes, each presumably to do a very specific task.

A selection of pins and nails (x3). The scales show how small some of these objects are.

A gold nail isn’t a very functional object though- gold is so soft that striking it with a hammer wouldn’t work- the craftsmen must have drilled a tiny hole into the bone or horn fitting first to hold the gold nail. We know from scientific analysis that various glues and cement-type fillers were used in the assembly of the objects, so maybe they were used to help hold the pins in place. The pins and nails also show us the attention to detail shown by the smiths who crafted the objects too- many are tiny works of art in themselves. The Saxon craftsmen were lavishing their skills on making the right nails and pins for the objects, just as much as on the fine filigree and garnet decoration.

Staffordshire Hoard - group shot

All images © Birmingham Museums Trust unless otherwise indicated.

To find out more about the Royal Armouries upcoming exhibition ‘Warrior Treasures: Saxon Gold of the Staffordshire Hoard’ please visit our exhibition microsite http://warrior-treasures.uk/

Join our Warrior Treasures exhibition conference Saturday 11th June to hear from leading experts in the field, who will explore the many aspects of this remarkable Anglo-Saxon find and explain how it is adding to our understanding of the people that made, used and buried this magnificent hoard. Please see full details and purchase tickets via this link https://www.royalarmouries.org/events/events-at-leeds/calendar/2016-06-11/warrior-treasures-conference-1

 

 

 

 

Meet the horses: Ocle

12835056_1107887065922427_640288587_nAge: 8

Breed: Andalusian

Sex: stallion

Height: 15.2

Speciality: airs above the ground

12825325_1107887079255759_127032007_nOcle is a bold and confidant stallion. With extensive experience in film work and live performance, his courage and intelligence is easily admired! Trained to strike shields, gallop through flames and leap high off the ground in graceful airs above the ground, Ocle is a perfect example of the qualities desired in a war horse.

During the Royal Armouries Easter tournament, you will have the chance to see Ben of Atkinsons Action Horses working Ocle in ‘liberty’ (as seen below) which means he is controlling the horse without any reigns or restraints.To see this, purchase your tickets to the Easter Tournament here.

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Meet the Jouster: Stacy Van Dolah-Evans #TeamEngland

 

Age: 401 Armouries Tournament-161

High: 5’11

Weight: 12.5 stone

Armour: Burgundian Export 1475-1490

Motto: Mors Aut Gloria – Death or Glory

Jousting: 16 years

Strengths: experience in Jousting & Melee.

Won the Royal Armouries melee at the Easter Tournament 2015.

Weakness: NONE! (Perhaps overconfidence?)

Stacy is the producer of the International Tournament of Arundel Castle and also one of England’s finest jousters. Stacy has ridden horses since childhood at a competitive level, and progressed into mounted 15th century cavalry and tournament in 1999 when he joined the UK finest 15th century cavalry re-enactment group Destrier.

He holds a deep interest in military horsemanship throughout history, and particularly enjoys recreating British Cavalry of the 18th and 19th centuries. This has led him to ride with the Queen’s Royal Lancers Display Team at such events as Royal Military Tournament, in presence of HM the Queen.

Stacy regularly competes internationally and comes to the Royal Armouries in 2016, on the back of a successful season in 2015 winning the individual jousting champion and mounted melee in Poland & team champions at the Arundel International Tournament. Stacy has also been a holder of the Queen’s Jubilee Horn & sword of honour the Royal Armouries’ coveted jousting trophies.  Other jousting Tournaments he has secured victory is Tournois du Ly’sArgent in Quebec and Arundel international team champions 2013.  He is very much on form and will be focused on adding another tournament trophy to his cabinet.

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Stacy’s coat of arms

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Stacy was the winner of the Royal Armouries melee at the 2015 Easter Tournament

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Stacy Van Dolah-Evans 3

 

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The Royal Armouries Museum celebrates 20 years in Yorkshire

Today, 15th March 2016, marks twenty years since the official opening of the Royal Armouries Museum in Leeds by HM Queen Elizabeth II in 1996. The doors were opened to the general public the following April.

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HM Queen Elizabeth II meets Royal Armouries interpreters Andy Deane and Keith Ducklin. Keith and Andy are still integral members of our Visitor Experience team today.

The building, designed by renowned architect Derek Walker (chief architect for Milton Keynes development), became the first national museum with its headquarters based outside of London. The museum was developed under the leadership of the Director General and Master of the Armouries during that period, Guy Wilson. The construction project, which cost a total of £42.5 million, took two years to complete and its development was supported by national and local government, businesses, the University of Leeds, as well as press and media.

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Leeds Dock as it was from above, featuring the skeleton of the Leeds museum

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A news feature from the Yorkshire Evening Post on the newly opened museum

The Royal Armouries’ history stretches back over 900 years to its early role as the main royal and national arsenal housed in the Tower of London. It is one of the world’s oldest museums with a collection which has been on display to visitors for over 500 years.

Over time, as the world-class collection expanded and with limited display space available at the White Tower, a new home was required. The extensive search for a new site was focused in the north of England and led to the choice of Leeds as the best location for Royal Armouries new purpose-built museum after an initial scoping in Sheffield.

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Laying the foundations: the blessing of the Royal Armouries museum site prior to opening to the public with HRH Prince Michael of Kent.

Royal Armouries Museum in Leeds has become an integral part of the cultural landscape in Leeds and Yorkshire, with a major impact on the regeneration Leeds. It continues to build positive relationships with a wide range of organisations, which include businesses and other cultural and educational organisations.

Behind the scenes filming the museum’s ‘Agincourt’ short film shown in our War Gallery.

Today, the museum has five main themed galleries which display 8,500 objects from weapons of the Bronze Age right up to those supplied to today’s armed forces. The museum includes the Hall of Steel, the architectural centrepiece of the museum with 2,500 items which represent the largest mass display of arms and armour assembled since the 19th century, and the record-breaking Elephant Armour.

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The Royal Armouries record-breaking Moghul Empire Elephant armour, seen in our Oriental Gallery

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The Hall of Steel contains 2,500 examples of 17th and 19th century arms and armour

A recent film of the Hall of Steel undergoing a spring clean

The Royal Armouries Museum has established a unique reputation for its event programme, with 1,800 performances, combat demonstrations, talks and workshops each year. Jousting and tournaments have been a highlight of the Royal Armouries event programme ever since it’s opening. Below is a short film featuring one of the earliest jousts in the museum’s specifically designed tiltyard in 1996.

This year’s Easter Tournament will run from 25 – 28 March as part of the museum’s twentieth anniversary celebrations. To find out more details our 20th anniversary Easter Tournament and book tickets, please visit our website.

The museum is also developing a new special exhibition schedule. Last year the Royal Armouries presented the highly-acclaimed Art of Battle exhibition, to mark the bicentenary of the battle of Waterloo and Warrior Treasures: Saxon Gold from the Staffordshire Hoard (27 May – 2 October) will be a highlight of 2016.

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The Royal Armouries ‘Art of Battle’ temporary exhibition