British Museum blog

On medieval metalwork

Jamie Hall, contemporary and medieval metalworker

The majority of the objects on display in Treasures of Heaven are made from precious metals. In the modern age, the computer is the pinnacle of technological development, and during the Industrial Revolution it was vast machines that filled the role. But prior to that, during the middle ages, it was the products of the metalworker that represented the very best of human ingenuity. Popular culture gives the impression that arms and armour were the heart and soul of metallurgy, but work in the precious metals is no less inspiring, and in fact, the two branches go hand in hand, one feeding into the other.

As a jeweller, and a medievalist, the exhibition was a very exciting opportunity to see the labours of my predecessors first hand. It’s one thing to read about the methods they used, and another to behold these objects, and see the tool marks – remembering that each stroke of the engraving, and each strike of the hammer, had a human hand behind it, using tools that are not so different to the ones I use today. But these aren’t the works of a single artisan; rather, they represent a high level of social and economic organisation – the materials, like enamel and gemstones, would be purchased by, or given to, a particular religious order, and the work might be done within a monastic workshop, or perhaps by secular artisans in a nearby town.

Within that workshop would be masters and apprentices of various persuasions – experts in casting, forging and gilding, others who worked with the precious stones, others who would engrave and polish the metal. One such workshop is described in a 12th-century book called On Divers Arts by an artisan-monk calling himself Theophilus, where even the steel tools were produced in-house.

My favourite piece in the exhibition is the Bell Shrine of St. Cuileáin, which has an almost sci-fi quality to it. Aside from the excellent knotwork decoration, the piece is assembled from a mixture of cast and forged sections, and has a feeling of solidity that you can see across the room.

It isn’t often that we get a chance to see such a wide range of methods in one place – the exhibition is almost like a catalogue of techniques. Nor do we normally get to see objects that cover over a millenia of history, across so many different cultures, each with it’s own unique take on Christianity. From the post-classical styles of the Byzantine Empire, to the pagan-influenced works from the British Isles, and everything in between, the Treasures of Heaven exhibition is a stunning testament to the passion, inspiration and ingenuity of our ancestors, and their search for beauty in a world of tragedy and violence.

Jamie Hall (@primitivemethod) is a contemporary and medieval metalworker.

Treasures of Heaven: saints, relics and devotion in medieval Europe is open until 9 October 2011. Book tickets online or become a Member and gain free entry to all special exhibitions.

Treasures of Heaven: saints relics and devotion in medieval Europe is sponsored by John Studzinski.

Filed under: Exhibitions, Treasures of Heaven

One Response - Comments are closed.

  1. Sheri says:

    I find metal work very interesting and intricate work and I’m sure it is valuable, however, what was it worth at the time of creation and how do you know what age and time it was from, and where it originated?

    Like

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 10,191 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Next in our #MuseumOfTheFuture series of gallery spaces it's Room 53, the Raymond and Beverly Sackler Gallery of Ancient South Arabia. Ancient South Arabia was centred on what is now modern Yemen but included parts of Saudi Arabia and southern Oman. It was famous in the ancient world as an important source of valuable incense and perfume, and was described by Classical writers as Arabia Felix ('Fortunate Arabia') because of its fertility.
Several important kingdoms flourished there at different times between 1000 BC and the rise of Islam in the 6th century AD. The oldest and most important of these was Saba, which is referred to as Sheba in the Bible.
Room 53 features highlights from the Museum’s collection, which is one of the most important outside Yemen. The display includes examples of beautiful carved alabaster sculptures originally placed inside tombs, incense-burners and a massive bronze altar. You can see the East stairs in the background of this picture. We've reached Room 52 on our #MuseumOfTheFuture series of gallery spaces – the Rahim Irvani Gallery of Ancient Iran. Iran was a major centre of ancient culture. It was rich in valuable natural resources, especially metals, and played an important role in the development of ancient Middle Eastern civilisation and trade. Room 52 highlights these ancient interconnections and the rise of distinctive local cultures, such as in Luristan, during the age of migrations after about 1400 BC.
During the 6th century BC, Cyrus the Great founded a mighty Persian empire which eventually stretched from Egypt to Pakistan. Objects on display from this period include the Cyrus Cylinder (in the centre of the picture) and the Oxus Treasure (in the case to the left of the picture). Monumental plaster casts of sculptures from Persepolis are also displayed in Room 52 and on the East stairs.
The later periods of the Parthian and Sasanian empires mark a revival in Iranian culture and are represented through displays including silver plates and cut glass. The next gallery space in our #MuseumOfTheFuture series is Room 51, Europe and Middle East 10,000–800 BC. Farming began in the Middle East around 12,000 years ago, making possible the social, cultural and economic changes which shaped the modern world. It arrived in Britain around 6,000 years ago bringing a new way of life. This change in lifestyle meant people competed for wealth, power and status, displaying these through jewellery, weapons and feasting.
The objects on display in Room 51 show how the people of prehistoric Europe celebrated life and death and expressed their relationship with the natural world, the spirit world and each other. The object in the centre of this picture is the Mold gold cape, found in Flintshire in 1833 and dating to around 1900–1600 BC. This is Room 50, Britain and Europe 800 BC–AD 43, the next gallery space in our ongoing #MuseumOfTheFuture series. The Iron Age was a time of dramatic change for the people of Britain and Europe. Iron replaced bronze as the material used to make tools and weapons, while religion, art, daily life, economics and politics changed dramatically. The story of these civilisations (known to the Greeks and Romans as Britons, Celts, Germans and Iberians) and their distinct material cultures, is told through decorated Iron Age artefacts known as 'Celtic art' and more everyday objects. In the foreground of this picture you can see a selection of torcs and to the right is the Battersea shield, found in the River Thames in the 1850s. Next up in the #MuseumOfTheFuture gallery series it's the Weston Gallery of Roman Britain – Room 49. The Roman occupation of Britain between AD 43 and 410 dramatically transformed the material culture of the province. Imported goods and settlers from Europe, the Middle East and North Africa created a richer, more diverse society and a wealth of mosaics, wall paintings, sculpture, glassware and metalwork was produced.
The laws, administration, currency, architecture, engineering, religion and art of Rome met Britain’s Iron Age societies to create a distinctive 'Romano-British' identity, which is illustrated in Room 49 through a variety of objects and artworks including the Mildenhall treasure, the Hoxne Hoard and the Hinton St Mary mosaic. Born #onthisday in 1600: Charles I. During the Civil War this medal was worn in support of the King
#history #medal #king
Follow

Get every new post delivered to your Inbox.

Join 10,191 other followers

%d bloggers like this: