: Wealth & Income

Saintonge jug from Kidwelly Castle, Carmarthenshire.

Elaborately decorated vessel found in Cardiff. 23.8cm (9.5 inches) tall.

Jug found in the well at Castell-y-Bere, Gwynedd. 20.5cm (8.1 inches) tall.

During the Middle Ages, several regions of France exported pottery to Britain - notably northern France, Normandy and the Ardennes. Most of the French pottery found in Wales came from the Saintonge area of south-west France.

The trade in pottery from the Saintonge area to Britain began early in the 13th-century and lasted for about 500 years. At the start of this period the English ruled neighbouring Gascony, and many of the vessels that have been found in Wales probably made their way to Britain from the ports of La Rochelle and Bordeaux as part of mixed cargoes (wine being the most important commodity).

Pottery from the Saintonge area was made from a fine clay that was well suited to the throwing of light, thin-walled shapes such as those seen here. The clay also had a low iron content, which meant that, when fired, it produced a vessel with a white or buff fabric.

The first example illustrated here was found in a midden at Kidwelly Castle (Carmarthenshire) during excavations in the 1930s. It appeared to have been thrown away along with several plainer vessels and is decorated with a vine scroll motif typical of Saintonge jugs. It was probably produced between 1275 and 1320. This elegantly decorated vessel illustrates the great skill of the Saintonge potters. It is 25cm (9.8 inches) tall and in places its walls are only 2.4mm (0.1 inches) thick.

In these years Kidwelly Castle passed from the ownership of the de Chaworth family, who greatly improved its defences, to William de Valence and then to the House of Lancaster. These later owners set about improving the castle's accommodation. This jug may have been used to pour wine in the Great Hall for one of these English owners or their guests, though such jugs may also have held water.

Saintonge pottery is known from many other sites in Wales, including Cardiff and Castell-y-Bere in Gwynedd. For the most part the ware has been found at coastal sites - locations more easily controlled by the English, or more accessible to their traders - though occasionally it has been found in remote upland sites.

• Cardiff jug: This jug was discovered during work in Cardiff High Street in 1893. Its decoration includes birds, masks, and heraldic shields - all are common features on jugs from the Saintonge potteries.
• Castell-y-Bere jug: Castell-y-Bere was only occupied by the English from 1284-1294. Given the frequency with which Saintonge pottery is found at other castles occupied by the English in Wales, it seems likely that the jug dates from this period.

While such pots may not even have been greatly valued by their owners, when viewed alongside vessels of silver, bronze or brass they survive as examples of great craftsmanship and illustrate links between Wales and the wider European world during the Middle Ages.

Background Reading

'Kidwelly Castle, Carmarthenshire; including a survey of the polychrome pottery found there and elsewhere in Britain', by C. Fox and C. A. R. Radford. In Archaeologia vol. 83, p93-138 (1933).

'Medieval finds from Castell-y-Bere, Merioneth' by L. A. S. Butler. In Archaeologia Cambrensis vol. 123, p78-112 (1974).

Medieval pottery and metal-ware in Wales by J. M. Lewis. Published by the National Museum of Wales (1978).

The Capel Garmon Firedog (Conwy). Firedogs are decorated stands used to contain wood burning in a fireplace. This fine example has heads and crests shaped to resemble aspects of both a bull and a horse.

Detail showing one of the heads on the firedog. The head may have represented a mythical creature recounted in the tales of warriors or an emblem of the tribe or community of its owners.

X-ray of one of the heads on the Capel Garmon Firedog. This X-ray shows the complex way in which the firedog was constructed. (The horizontal and vertical struts are modern supports added to stabilize the head).

Experimental iron smelting has shown the amount of time and skill that would have been involved in the production of the Capel Garmon Firedog.

This iron stand with two opposing horned animal heads is known as the Capel Garmon Firedog, and was made by a master craftsperson of the Celtic Iron Age.

An offering to the gods

Found in 1852, the firedog was uncovered in a field at Carreg Goedog Farm, Capel Garmon (Conwy). It lay on its side, with a large stone placed at each end, and was deeply buried. Its careful placing and unbroken state suggest that it was deliberately placed as an offering to a god of the pagan Celtic world. This fits into a long-established tradition of depositing metalwork in Wales’s lakes, rivers and bogs during the Bronze and Iron Ages.

One of a pair

Originally one of a pair, the firedog would have sat next to a hearth at the centre of a timber or stone round-house. This hearth would have been a natural focus for eating, feasting and discussion and the firedog would have been on view to be admired by all.

Recent X-raying of the firedog, together with an attempt to replicate the artefact by a modern blacksmith, has shown that its maker was a master craftsperson, highly skilled in shaping and working iron.

Magical process

It has been estimated that the Capel Garmon Firedog may have taken one person over 3 years to make, from the gathering of raw materials, through the smelting of the ore to the finishing of the artefact. This transformation of iron ore into metal was probably viewed as a magical process by the Celts, and blacksmiths would have been given great respect for the powers that they wielded.

Dating the Capel Garmon Firedog is difficult - there were no archaeologists to record the excavation. However, since the Capel Garmon find, similar firedogs have been discovered in south-east England, in the graves of Iron Age chieftains.

In addition to the firedogs, these burials were accompanied by grave goods, all of which can be dated to between 50BC and AD75 - the Late Iron Age. It therefore seems likely that the Capel Garmon firedog was also buried around this time.

Iron was first used in Wales at around 750BC. From 300BC onwards iron tools, weapons and brooches became increasingly common on hillforts, settlements and in hoards. However, the scale and quality of the Capel Garmon Firedog sets it apart from these objects. Despite all the discoveries that have been made in the past 150 years, it remains one of the most important pieces of early decorative ironwork to have been found in Britain.

Background Reading

Celtic art, reading the messages by M. Green. Published by Weidenfeld & Nicholson (1996).

'Firedogs in Iron Age Britain and beyond' by S. Piggott. In The European community in later prehistory: studies in honour of C. F. C. Hawkes by J. Boardman, M. A. Brown and T. G. E. Powell, p245-70. Published by Routledge & Kegan Paul (1971).

'The Capel Garmon Firedog' by C. Fox. In The Antiquaries Journal, vol. 19, p446-8 (1939).

Excavations at Llan-gors Lake in 1991. The textile was discovered in the silts beyond the oak palisade visible in this trench.

The lump of charred textile, as found lying on a piece of wood.

Part of the decoration preserved on the textile, showing a group of birds framed by vines. Unfortunately none of the original colour was preserved in the textile, making the design very difficult to see without assistance. It is picked out here with superimposed white lines. The total area shown is roughly 9cm tall by 7cm wide (3.5 x 2.8 inches).

Digital-simulation of colour on a photograph of the original textile.

In 1990, archaeologists working at a site on Llan-gors Lake, near Brecon, made an unexpected discovery - the remains of a magnificently decorated textile, over a thousand years old.

Just off the northern shore of Llan-gors Lake lies a crannog (a man-made island) built as a royal site for the ruler of Brycheiniog in the 890s - a turbulent period in the kingdom's history.

At this time, Brycheiniog was under pressure from several neighbouring kingdoms, and Llan-gors must have seemed a safe retreat. However, excavations of the site have shown that this haven was short-lived, being destroyed by fire in the early 10th century.

Much of the archaeological work at Llan-gors focused on the waterlogged silts that surrounded the crannog. It was here that the textile was discovered, badly charred and very fragile.

Through careful conservation treatment it was possible to separate and clean its many layers revealing this unlikely lump to be among the most important finds of early medieval textile yet found in Britain.

The base material of the textile was a very fine plain-weave linen. Silk and linen threads have been used to decorate the textile with birds and other creatures within a framework of vines, and with borders containing repeating patterns or lions.

The skill with which this work has been accomplished continues to be a source of wonder. The linen has 23 threads to the centimetre - a magnificent achievement given the equipment available in the 9th and 10th centuries AD.

The textile appears to be part of a garment, perhaps a tunic or dress - it has a hem and a belt loop - but unfortunately too little survives to indicate its detailed shape.

Its owner was a person of considerable status since the silk that decorates it must have been imported to Britain, while the quality of the needlework suggest that it was produced in a specialist workshop.

So how did this fine textile come to be lost? A clue can be found in the Anglo-Saxon Chronicle for AD916, which records that in this year a Mercian army from England destroyed a site called Brecenanmere (Brecknock-mere = Llan-gors Lake) and captured 'the wife of the king and 33 other persons'.

Was this the event that saw the burning of Llan-gors and the loss of the textile? It is tempting to believe so.

Background Reading

'A fine quality insular embroidery from Llangors Crannog, near Brecon' by H. Granger-Taylor and F. Pritchard. In Pattern and Purpose in Insular Art edited by M. Redknap, S. Youngs, A. Lane and J. Knight, p91-99. Published by Oxbow Books (2001).

'Worn by a Welsh Queen?' by L. Mumford and M. Redknap. In Amgueddfa, vol. 2, p52-4 (1999).

'The Llangorse textile; approaches to understanding an early medieval masterpiece' by L. Mumford, H. Prosser and J. Taylor, in C. Gillis and M.-L. B. Nosch (eds), Ancient Textiles: Production, Craft and Society, 158-62. Published by Oxbow Books (2007).

The hoard of Bronze Age artefacts recovered by metal detectorists near Wrexham.

The bronze knife, found in two fragments. The edges of the blade were heavily notched, perhaps suggesting it had been used for some time before burial.

The bronze axe, the socket of which contained the fragments of two or more gold bracelets.

The fragments of bracelets, probably made from Irish gold.

In 2002 a number of Bronze Age items were discovered near Wrexham, North Wales. Amoung the finds were a bronze knife, an axe head, and four fragments of gold bracelets. All were made between 1000-800BC and show links between Wales and Ireland during the Bronze Age.

The knife is of a type used throughout southern England and Ireland, and its shape mirrors much larger swords that were in use at this time. However, it is the first of its kind to be found in Wales.

The bronze axe head has a socket at one end, to which a wooden handle would have been attached, as well as a loop through which leather or twine would have been threaded to keep them together. It appears, however, that the axe head was buried without its handle since four fragments of gold bracelets were found stuffed into the socket. These valued finds include two terminals (end pieces) of a bracelet type most commonly used in Ireland, and are probably made of Irish gold.

These artefacts would probably have belonged to a person of considerable social standing since few people at this time would have had access to Irish gold and such finely worked tools. Quite why their owner decided to part with them will never be known for certain, although it is likely that they were buried as an offering to the gods.

The discovery adds valuable detail to our understanding of life in Wales 3,000 years ago. A time when leaders dressed to impress by wearing gold bracelets and hair ornaments, and a person's role within society was broadcast by the tools and weapons worn, the appearance of the horse they rode and the quality of a feast hosted.

Though most people in Wales were settled farmers and herders at this time, finds like the hoard from Wrexham show us that these small communities were part of large trading networks that linked Wales with Ireland. Evidence that our ancestors had more on their minds than food, farming and survival.

These items form part of the collections of Wrexham County Borough Museum.

The Pen y Bonc necklace (Anglesey). Image © the Trustees of the British Museum.

Xero-radiograph of the Pen y Bonc necklace. Image © the Trustees of the British Museum.

Jet necklace from East Kinwhirrie, Angus (Scotland). Image: Helen Jackson for the National Museums of Scotland.

Gold lunula from Co. Kerry, Ireland. Image © Trustees of the British Museum.

Queen Victoria had a fascination with the black semi precious stone 'Jet' following the death of her husband, Prince Albert in 1861. The use of this stone has a much longer history as this 4,000 year old necklace from Anglesey shows.

Important burial

In 1828 a grave was discovered at Pen y Bonc, near Holyhead on Anglesey. Accounts of this discovery are incomplete, but the grave was dated to around 4,000 years. The person who was buried must have been important as the grave was cut into bare rock. A number of black beads and buttons were discovered in the grave.

Unfortunately, most of the items were lost soon after the discovery, but some surviving pieces are now in the collections of the British Museum. These pieces form a crescent-shaped necklace of beads and spacer plates. Objects such as these are usually found with female burials. Jet necklace from East Kinwhirrie, Angus (pictured) shows the shape of a complete spacer plate necklace, and illustrates how some of the finest examples were decorated.

A necklace made of coal

Most of the beads and plates in the Pen y Bonc necklace are made of 'lignite' (fossilised wood). However, one bead and the surviving button are made of jet, a material found 300km (186 miles) away to the north-east, at Whitby (North Yorkshire). Jet is a dense black variety of lignite only found in a few parts of Europe.

Only parts of this necklace survive. It is possible that this was all that was buried since Bronze Age jet necklaces are often found incomplete. Alternatively, parts of the necklace may have been made of materials which have since rotted away, or possibly pieces were lost when it was excavated.

Manufacturing jet necklaces was a skilled job. The many strands of the necklace were suspended using spacer plates through which holes were bored to carry the strings. This delicate work was probably carried out using a bow-drill and a piece of bronze wire. In the case of the Pen y Bonc necklace some of the holes have been bored lengthways through the plates. But in order to increase the number of strands on one side of the plate, holes have been drilled at one end to allow new strings to be tied in.

Unlike many types of gem, jet is warm to the touch and is relatively easy to shape; it also takes a very high polish. Today it looks rather like shiny plastic, but during the Bronze Age it must have appeared strange and unusual. Jet also has unusual electrostatic properties (when rubbed it can attract hair and other light materials) that might have been seen as magical in prehistoric Britain.

Treasured jewellery

The jet pieces in the Pen y Bonc necklace were heavily worn suggesting that they were treasured items that had been kept for many years. In contrast, the parts of the necklace that were made from local materials were less worn - suggesting that they were newer replacements for broken or damaged pieces of jet.

Objects made of jet were popular throughout Britain during the Early Bronze Age (2300-1500BC), however, after this period its use declined.

When the jet necklace from Pen y Bonc was discovered in the 19th century, the jet being mined at Whitby was just beginning a revival, thanks in large part to Queen Victoria's obsession with black mourning garments after the death of Prince Albert in 1861.

Gold Lunula

Gold lunula also date to the Early Bronze Age and are often decorated in a similar way to jet necklaces. However, whereas jet necklaces are usually found with burials, lunula are not found with the dead. Perhaps jet suggested death and gold represented life in the minds of people 4,000 years ago.

Background Reading

'The Welsh 'jet set' in prehistory' by Alison Sheridan and Mary Davis. In Prehistoric ritual and religion by Alex Gibson and Derek Simpson, p148-62. Sutton Publishing (1998).

'Investigating jet and jet-like artefacts from prehistoric Scotland: the National Museums of Scotland project' by Alison Sheridan and Mary Davis. In Antiquity (2002) vol. 26, p812-25.