Portable Wealth After the Fall of the Western Roman Empire · Tiberius II 578-582 569 600 650 700...
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Tiberius II 578-582 569 600 700 714 650 Justin II 565-578 Maurice 582-602 Phocas 602-610 Heraclius 610-641 Byzantine Notes: 641 Constantin III, Heraklonas Constans II 641-668 Constantine IV 668-685 justinian II (1) 685-695 Leontios 695-698 Tiberius III 698-705 Justinian II (2) 705-711 Justinian I 527-565 569-586 Leovigild 586-601 Reccared 601-603 Liuva II 603-610 Witteric 610-612 Gundemar 612-621 Sisebut 621-631 Swinthila 631-636 Sisenand 636-640 Chintila 640-641 Tulga 641-653 Chindaswinth Visigothic Notes: 621 Reccared II (brief reign) Scale is approximate 653-672 Recceswinth 672-680 Wamba 680-687 Erwig 687-702 Egica 702-710 Wittiza 710 Roderic/Achilla II FRANKS-MEROVINGIAN BYZANTINE OSTROGOTHS -553 LANGOBARDS Selected bibliography: General Type 3 General Type 4 General Type 5 General Type 6 Constans II (642-668) Erwig (680-687) Buckle, c. 500-550 Buckle, c. 550-600 THE VISIGOTHIC PERIOD IN SPAIN VISIGOTHIC TREMISSES COMPARATIVE TIMELINE Only the period in which Visigothic kings minted coins under their own name is considered. CAN PORTABLE WEALTH OBJECTS SPEAK FOR AN ELITE? VISIGOTHIC BUCKLES LATE ROMAN ICONOGRAPHY HOW CAN WE KNOW? This research is centered in the Visigothic period in Spain to focus on a specific example of the Early Middle Ages, although several examples are drawn from contemporary societies. Portable objects are the basis of this study as their very movable nature made them perfect message conveyors to everybody that used, had, or even saw them. Coinage and objects of personal adorment (buckles, fibulae, belt fittings, etc.) are presented in their historic and icono- graphic context. Gold tremisses from the Visigothic period are well represented in the archaeological record, with enough information to observe minting regions, common iconography and general styles. Tremisses of the general types 3,4,5 and 6 (after Heiss),minted under the king’s name and departing from clear Byzantine prototypes. Portable wealth objects liven within a context full of iconography; the Western Roman Empire’s legacy, the Byzantine influences, Germanic traditions and local original developments. These all formed part of a ‘visual vocabulary’ that must have carried certain meanings to those who could afford to possess such objects and those who saw those objects. Burial practices in Visigothic-era cemetaries changed over the course of the roughly two centuries that this Germanic group is attested in the literary record to have ruled over the Spanish peninsula. Objects in graves became scarcer and simpler over this period and this can suggest to a changed perception of what buried portable wealth meant to the populace and the ruling party, two meanings that cannot be separated. Moreover, archaeological exploration in Visigothic-era cemetaries in Spain has only recently been carried out with the sufficient dilligence so as to extract all the information possible from objects found in burials, leaving the record with many objects with no provenance or archaeological context. However, an analysis of the whole corpus of objects attributable to this period has suggested time frames and correlations between them. objects like fibulae, coins and buckles certainly point to a conscious desire, through their materials and manufacture, to convey specific messages about whoever possesed, acquired or commissioned them. Placing this group of Visigothic period portable objects within the same type of objects in other contemporary groups and societies can point to common themes and it will be interesting to observe if that, in turn, could point to other historical realities of the late 6th and 7th century. Coin illustrations courtesy of Ars Numismatica, Beast Coins. Buckle images; Ariadne Galleries, Walters Art Museum. Map; Spruner 1865. Watercolour and line illustrations made by author. Visual elements, such as these presented, can be observed in the sparse archaeological record securely dated to the Visigothic period in Spain. It will be interesting to know and compare how this iconography sits within the general Wester European tradition of the Early Middle Ages. Can this common iconogpahy then be: Part of an elite vocabulary Part of an ambition to belong? Part of symbols of trade and inclusion? What messages can be inferred? . Careful observation of these coins, buckles and fibulae, within the context of the sculptural and decorative environment of the time, will suggest certain themes: Christian icons (a and o are quite frequent, as well as crosses) herringbone patterns and floral decorations can be observed, albeit in a transformed manifestation in portable objects and sometimes even in coins. This visual elements are indeed common in Wester Europe during this period so more detailed examples and specific correlations must be looked for. Byzantine coins found in the Spanish peninsula, as well as contemporary objects from Frankish, Langobards or Byzantine contexts should be compared in time and space to search for relationships and patterns of influence and distribution. Past Ostrogothic and Wester Roman traditions must also be identified as the common ground for all these new elements. Ultimately, the question will be asked; can this common iconography point to a common message? Basing the research in the historical context of the period, comparing portable objects of wealth to contemporary examples, both in the peninsula and in the Western European region and Byzantium’s region of influence, an attempt to answer this question will be made. A comparison between contemporary (taking into account the communications of the time) coins indeed place Visigothic coinage within certain visual libraries. The larger size and lavish possibilities that belt buckles offered result in a wide variety of types that, through typology classification, can be comparatively dated. Nevertheless, examples from the 6th century show a mixture of Germanic traditions in their metal and glass work, and Roman and Byzantine techniques and symbols. . Comparing these buckle types with securely dated examples from earlier Merovingian burials will try to help understand the elements that were chosen in their manufacture and their reasons. . COLLINS, R., 2006. The Visigoths, 409-711. Oxford, Blackwell; HEISS, A., 1872. Descripción General de las Monedas de los Reyes Visigodos de España. Madrid, Cayón (1978 reprint); PALOL, P., 1968. Arte Hispánico de la Época Visigoda. Barcelona, Poligrafía; RIPOLL, G., 1998. Toréutica de la Bética. Barcelona, Real Academia de Bones Letres. Portable Wealth After the Fall of the Western Roman Empire Javier Williams [email protected] School of Archaeology and Ancient History
Transcript of Portable Wealth After the Fall of the Western Roman Empire · Tiberius II 578-582 569 600 650 700...
Tibe
rius
II 5
78-5
82
569
600
700
714
650
Just
in II
56
5-57
8
Mau
rice
582
-602
Phoc
as
602-
610
Her
acliu
s 6
10-6
41
Byzantine Notes:641 Constantin III, Heraklonas
Cons
tans
II
641-
668
Cons
tant
ine
IV
668-
685
just
inia
n II
(1)
685
-695
Leon
tios
695
-698
Tibe
rius
III
698-
705
Just
inia
n II
(2)
705-
711
Just
inia
n I
527-
565
569-
586
Leo
vigi
ld
586-
601
Rec
care
d
601-
603
Liu
va II
603-
610
Witt
eric
610-
612
Gun
dem
ar
612-
621
Sis
ebut
621-
631
Sw
inth
ila
631-
636
Si
sena
nd
636-
640
Ch
intil
a64
0-64
1 T
ulga
641-
653
Ch
inda
swin
th
Visigothic Notes:621 Reccared II (brief reign)Scale is approximate
653-
672
Re
cces
win
th
672-
680
Wam
ba
680-
687
Er
wig
687-
702
Eg
ica
702-
710
Witt
iza
710
R
oder
ic/A
chill
a II
FRANKS-MEROVINGIAN
BYZANTINE
OSTROGOTHS -553 LANGOBARDS
Selected bibliography:
General Type 3 General Type 4
General Type 5 General Type 6
Constans II (642-668) Erwig (680-687)
Buckle, c. 500-550
Buckle, c. 550-600
THE VISIGOTHIC PERIOD IN SPAIN
VISIGOTHIC TREMISSES
COMPARATIVE TIMELINE Only the period in which Visigothic kings minted coins under their own name is considered.
CAN PORTABLE WEALTH OBJECTS SPEAK FOR AN ELITE?
VISIGOTHIC BUCKLES
LATE ROMAN ICONOGRAPHY
HOW CAN WE KNOW?
This research is centered in the Visigothic periodin Spain to focus on a specific example of theEarly Middle Ages, although several examplesare drawn from contemporary societies.Portable objects are the basis of this study as their very movable nature made them perfect message conveyors to everybody that used, had, or even saw them. Coinage and objects ofpersonal adorment (buckles, fibulae, belt fittings,etc.) are presented in their historic and icono-graphic context.
Gold tremisses from the Visigothic period arewell represented in the archaeological record,with enough information to observe mintingregions, common iconography and generalstyles.
Tremisses of the general types 3,4,5 and 6 (after Heiss),minted under the king’s name and departing from clear Byzantine prototypes.
Portable wealth objects liven within a context fullof iconography; the Western Roman Empire’s legacy, the Byzantine influences, Germanictraditions and local original developments. Theseall formed part of a ‘visual vocabulary’ that musthave carried certain meanings to those whocould afford to possess such objects and thosewho saw those objects.
Burial practices in Visigothic-era cemetaries changed over the course of the roughly two centuries that this Germanic group is attested in the literary record to have ruled over theSpanish peninsula. Objects in graves became scarcer and simpler over this period and this can suggest to a changed perception of what buried portable wealth meant to thepopulace and the ruling party, two meanings that cannot be separated. Moreover, archaeological exploration in Visigothic-era cemetaries in Spain has only recently been carriedout with the sufficient dilligence so as to extract all the information possible from objects found in burials, leaving the record with many objects with no provenance or archaeological context. However, an analysis of the whole corpus of objects attributable to this period has suggested time frames and correlations between them. objects like fibulae, coins and buckles certainly point to a conscious desire, through their materials and manufacture, to convey specific messages about whoever possesed,acquired or commissioned them. Placing this group of Visigothic period portable objects within the same type of objects in other contemporary groups and societies can point tocommon themes and it will be interesting to observe if that, in turn, could point to other historical realities of the late 6th and 7th century.
Coin illustrations courtesy of Ars Numismatica, Beast Coins. Buckle images; Ariadne Galleries, Walters Art Museum. Map; Spruner 1865. Watercolour and line illustrations made by author.
Visual elements, such as these presented, canbe observed in the sparse archaeological record securely dated to the Visigothic period inSpain. It will be interesting to know and comparehow this iconography sits within the generalWester European tradition of the Early MiddleAges.Can this common iconogpahy then be:Part of an elite vocabularyPart of an ambition to belong?Part of symbols of trade and inclusion?What messages can be inferred?.
Careful observation of these coins, buckles and fibulae, within the context of the sculptural and decorative environment of the time, will suggest certain themes:Christian icons (a and o are quite frequent, as well as crosses) herringbone patterns and floral decorations can be observed, albeit in a transformed manifestation in portable objects and sometimes even in coins. This visual elements are indeed common in Wester Europe during this period so more detailed examples and specific correlations must belooked for. Byzantine coins found in the Spanish peninsula, as well as contemporary objects from Frankish, Langobards or Byzantine contexts should be compared in time and space to search for relationships and patterns of influence and distribution. Past Ostrogothic and Wester Roman traditions must also be identified as the common ground for allthese new elements. Ultimately, the question will be asked; can this common iconography point to a common message?Basing the research in the historical context of the period, comparing portable objects of wealth to contemporary examples, both in the peninsula and in the Western European region and Byzantium’s region of influence, an attempt to answer this question will be made.
A comparison between contemporary (taking into account the communications of the time)coins indeed place Visigothic coinage within certain visual libraries.
The larger size and lavish possibilities that beltbuckles offered result in a wide variety of typesthat, through typology classification, can becomparatively dated. Nevertheless, examplesfrom the 6th century show a mixture of Germanic traditions in their metal and glasswork, and Roman and Byzantine techniques andsymbols..
Comparing these buckle types with securely dated examples from earlier Merovingian burialswill try to help understand the elements that werechosen in their manufacture and their reasons..
COLLINS, R., 2006. The Visigoths, 409-711. Oxford, Blackwell; HEISS, A., 1872. Descripción General de las Monedas de los Reyes Visigodos de España. Madrid, Cayón (1978 reprint); PALOL, P., 1968. Arte Hispánico de la Época Visigoda. Barcelona, Poligrafía; RIPOLL, G., 1998. Toréutica de la Bética. Barcelona, Real Academia de Bones Letres.
Portable Wealth After the Fall of the Western Roman EmpireJavier [email protected]
School of Archaeology and Ancient History
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