Medieval News April 2016 No. 4 Textiles in Late Antiquity... Medieval Histories this week... Overview Textiles in Late An- Exhibition and Catalogue: Byzantine Textiles in Ger- tiquity 3 Textiles in Late Antiquity 3 man Collection 12 New Viking Site in New- Expedition to Newfoundland Smelting Iron the Viking foundland? 18 1472 20 Way 22 Medieval Bog Churning Butter With the New Books 34 Butter 24 Devil 27 Medieval News Medieval Histories Inc © Photo (frontpage): - read about new exhibitions, Paradisstien 5 A decorative panel from a fur- books, research and much more DK2840 Holte nishing, representing Pan and Denmark Dionysus, ca. 4th-5th century. Editor-in-chief: Karen Schous- Museum of Fine Arts, Boston boe www.medievalhistories.com Photos are to the best of our 2016: February, No. 2 [email protected] ability either published by per- ISBN: 978-87-92858-31-3 +45 24 23 36 10 mission or under the CCA. 2 A tapestry weave of dyed wools and undyed linen from Egypt, ca. 6th-8th century A.D. Sarah DeSantis/Brooklyn Museum. Currently exhibited at ISAW Textiles in Late Antiquity - Akhmim and large collections of tunics, cant role in both public and private life – curtains and other textiles – whole or frag- economically,In Late Antiquity, politically textiles and played cultural. a signifi - fers of the large museums as well as the Both from an economic and a cultural boomingmentary -market fragments for antiquities.began to fill Unfortu the cof- point of view textiles played a very impor- nately mummies were more often than not tant role. Narrative sources witness to the unpacked in order to retrieve the colour- use of textiles and clothes as important ful and patterned pieces, while the more sign of economic, cultural or religious humble undecorated linens and wools power (or the lack thereof). But extant were discarded. Of special interest were textiles also furnish a colourful glimpse the textiles embellished with appliqued of their importance as social and cultural silk and the occasional use of gold yearn to markers. couch these. Of overall importance are the many piec- Part of this interest was undoubtedly es of clothing and fragments of textiles, fuelled by the Arts & Crafts Movement, which archaeologists aka grave-robbers which led to the creation of large public salvaged from the Egyptian sand. Early and techniques of textile productions of up in Turin, Louvre and the British Mu- thecollections late 19th intended and early to 20thfoster century. the fine arts seum.finds, reportedlyHowever, in from 1883 Saqqârah, digging began ended at Estimates vary, but it is generally believed 3 decorations. Such hangings as well as cur- tains played a very important role in the upper-class houses at that time. In Late Antiquity they seem to have superseded the colourful paintings of the Roman villas. But textiles were also widely used as cush- ions Motives were, however, the same: gardens with fruit trees, seascapes with monsters and mythological themes. Later Sassanian motifs like winged animals, palmettes and hunting scenes became fashionable. Some of these textiles were also used in a liturgical context as is witnessed by the inventory of the Ecclesia Cornutanensis, a house-church built at a villa near Tibur (today’s Tivoli near Rome) around 471. The Charta (pp. 146 - 48) outlines the deed which consisted of a piece of land, silver utensils to the weight of 541 Ro- man pounds, bronze chandeliers and three sets of curtains – of silk, half silk and linen from Aquitaine. Listed were also covers to be used at the altar or to cover the graves of the saints as well as liturgical vestments Fragments of a hanging that represent a servant with golden bands (clavi) to be used by opening a curtain possibly from Egypt, 5th century the clergy. The document is interesting A.D. Museum of Fine Arts, Boston. Currently exhib- ited at ISAW/NYU because it stipulates the colours in detail – purple could be had in a full version as that 100.000 – 150.000 pieces may be well as in more pale greenish or whitish found in collections in America, Europe, and Asia. As yet, international collabora- liturgical service in the church must have tion has not been able to secure funding beenversions. a dazzling To judge and by colourful the specifications, experience. a for doing a full and proper registration of the diverse collections. In stead, beauti- Excavations around the Mediterranean ful collections help to focus the attention have unfortunately not as yet led to a pre- towards the artistic merits of the many cise understanding of how these large beautiful patterns and decorations. How- textiles were produced and what particu- ever, the last 20 years have also witnessed lar kinds of looms were used. However evidence in the form of papyrus illustra- material. tions witness to the existence of profes- an explosion in the scientific studies of the sional workshops. Two distinctive types - of tools used in these establishments have duction was the manufacture of large wall - 4 Another significant branch of textile pro been identified: pattern-books present ing general iconographic repertoires and shops could be found in both Southern cartoons, and 1.1 scale guides for weaving France and Tunisia. In medium-sized cities tapestry textiles. Detailed analysis by Gal- like Oxyrunchus, we know that about 60 % of the population was involved in the tex- conventions existed and that these were tile production, which produced the short perpetuatedliker has shown for centuries.that a significant In itself, body this of tunics and cloaks used in the Roman Army. underlines the professional character of much of this textile production in Late An- SOURCE: tiquity. The Cambridge History of Western Tex- tiles not mislead us to believe that textile By David Jenkins (ed) However, these finds from Egypt should production and consumption were the Cambridge University Press 2003 prerogative of the Egyptians. Precious tex- tiles were without a doubt produced as Middle Byzantine Silk in Context: Inte- well and in abundance in Syria, Palestine, grating the textural and Material Evi- and Constantinople and further into Asia dence. By Julia L. Galliker Palmyra and Masadah have shed light on Thesis submitted to the University of Bir- Minor. Early finds from Dura-Europos, the importance of those regions for both mingham for the degree of Doctor of Phi- textile imports and textile production on a losophy 2014 larger scale. Designing Identity: The Power of Tex- From an imperial decree from c. AD 300 tiles in Late Antiquity we also earn that textile workshops (gy- By Thelma K. Thomas (Ed) neecae/gynaikeia) as well as dying work- Princeton University Press 2016 A fragment of a tapestry representing two figures from Egypt, ca. 7th-9th century A.D. Byzantine Collection, Dumbarton Oaks, Washington, DC 5 A child’s tunic with hood tapestry weave of dyed wools from Egypt. ca. 5th century A.D. The Metropolitan Museum of Art/Art Resource, NY Designing Identity: The Power of Textiles in Late Antiquity Moving from white togas to glittering purple silks, powerful textiles became a singularly effective way of signalling wealth and influence in Late Antiquity (AD 200 – 600). This spring an exhibition in NY offers a unique view of some of the bits and pieces still in existence. This spring, the Institute for the Study of views across Late Antique society (roughly the Ancient World at the New York Univer- third to seventh century CE). The exhibi- sity (NYU) has mounted an exhibition on how people in Late Antiquity used sump- diverse materials, techniques, and motifs tuous and powerful textiles to design their totion explore brings how together clothing over and fifty cloth textiles furnish of - identity. ings expressed ideals of self, society, and culture. Designing Identity: The Power of Textiles in Late Antiquity, offers intimate glimpses By their valuable materials and virtuoso into the lives of those who commissioned execution, the textiles displayed their own- and used textiles and more sweeping ers’ wealth and discernment. To modern 6 viewers, the materials and techniques also bition is open Wednesday to Sunday from attest to developments around the Medi- 11 to 6 pm with a late closure at 8 pm on terranean world and farther east along the Fridays. A free guided tour is offered each routes of the silk trade. The Late Antique Friday starting at 6 pm. owners, in choosing from a vast reper- tory of motifs, represented (hopefully All objects on view in the exhibition were more than actually) the prosperity and generously loaned by the following lend- well-being of their households. The own- ers: Brooklyn Museum, New York, NY ers represented themselves through the Cleveland Museum of Art, Cleveland, OH distinctively gendered imagery of manly Dumbarton Oaks, Washington, DC Kelsey and womanly virtues in mythological and Museum of Archaeology, University of Christian subjects so that in these textiles, Michigan, Ann Arbor, MI The Metropolitan we see distinctly personal manifestations Museum of Art, New York, NY Museum of of the religious transformation of the Ro- Fine Arts, Boston, Boston, MA man Empire into a Christian Empire. Designing Identity: Designing Identity: The Power of Textiles The Power of Textiles in Late Antiquity in Late Antiquity has been curated by 15 East 84th St. New York, NY 10028 Thelma K. Thomas, Associate Professor 25.02.2016 - 22.05.2016 of Fine Arts, Institute of Fine Arts, who is also the editor and a contributor to the show’s accompanying catalogue. The exhi- Exhibition at NYU/ISAW © ISAW 7 REVIEW OF CATALOGUE: Designing identity: The Power of Textiles in Late Antiquity The catalogue accompanying the exhibition on the Power of Textiles in Late Antiquity is both beautiful and informative Designing Identity: The Power of Tex- tiles in Late Antiquity Edited by Thelma K.