Ribe Excavations 1970-1976. Volume 2 8788521303

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Ribe Excavations 1970-76 VOLUME 2

Edited by Mogens Bencard

Sydjysk Universitetsforlag, Esbjerg, 1984

Contents Maps

6

Introduction

9

MOGENS BENCARD

Metal-casting H. BRINCH MADSEN

15

5

Map of modern Ribe, showing excavations and trial trenches. 0 represents older investigations, and • more recent ones, which yielded only medieval and later material. .A represents excavations which also gave evidence of layers from the Viking period, and /.::;. places where Viking objects were found in later layers. Within the town area, Ribe A runs southeast-northwest, deviating from its general east-west direction. The two parts of the town are therefore referred to as lying south or north of the river. As can be seen, the only Viking evidence is in the northern part of town.

Dttail of prn..ious map, showing the position of excavations I970-I976. fgj 43M70 is Set. Nikolaj Kirktgdrd. • 6M73 numbtrs I- I 1 givt lht position of trial trenches. Of thtse, number 5 is oflm referred to as K uustmuseets Kaldn l l 5M74 is Dommerhaven. lliili) 4M75 is Kunstmuseets Have. ~ IOM76 is the trial trench in Tt•Nigade.

6

m

43 M70

11

5 M 74

~

4 M 75

!m

10M 78

•

$ M 73

Oagmarsgade

7

Introduction This volume is the second of the series reporting on the excavations in Ribe from 1970 to 1976. In these publications, various specialists will treat the material relating to their own fields. Each group of finds will be presented in catalogue form, accompanied by a commentary. The find complex being quite extensive and relatively well dated, it should afford useful comparative material for similar complexes. At the same time, each topic may contribute to an overall appraisal of the settlement, dating from the transition to the Viking Age, which has been excavated on the north side of the river, Ribe A. As one of the three towns in Scandinavia where Ansgar was permitted to establish a missionary station, Ribe has for many years been a silent witness and therefore somewhat overlooked. Now, however, it demands a greater degree of consideration in the evaluation of social and urban development on the threshold to historical times in Scandinavia. The excavations mark the provisional termination of a lengthy research project, initiated in 1955 by the National Museum under the supervision of Hans Stiesdal and the undersigned. With interruptions, the project was carried on by Den Antikvariske Samling in Ribe. From the very outset the formulation of the problem was clear and based upon evidence in the written sources of Ribe's antiquity and important place in Danish Viking Age society. The primary task was to obtain archaeological confirmation of this, and to determine the location of the Viking town. It was also hoped to discover how long the town had been in existence prior to its first mention in the written sources around 860. The results of the first excavations were disappointing as regards the Viking period. T he

site seemed to be well chosen: in the heart of the medieval town between Gr0nnegade and Prrestegade, both of which streets run beside Ribe A, from the cathedral to the castle site, Slotsbanken (see the map, p. 6). The occupation layers appeared to be thick and rich in finds, but when the bottom was reached, nothing earlier than about 1100 had been found. The same result was obtained with a series of trial excavations in the course of the 1960s in the medieval town centre, at sites where digging was possible. At the same time, it was striking that artefacts which had been found earlier in Ribe were, with few exceptions, medieval. The location of these trial excavations is shown on the town map (p. 6), from which it is also apparent that the investigations could not be carried out in any systematic manner. This is due in part to the lack of new building on a large scale in the well-preserved old town centre. Neither did the limited funds available to the museum make it possible to excavate anything more than trial trenches of a very limited extent. However, the information gathered did point to the conclusion that the site of the medieval town centre showed no continuity from the Viking Age, with the exception of the Romanesque cathedral and its environs, which could not be excavated. In the light of the knowledge that many early towns in northern Europe had been moved from their original sites just around 1100, it could be postulated that Viking Age Ribe had been situated somewhere else. If the ideal location for a settlement with a trade function was a place where land traffic could cross a watercourse navigable to seagoing vessels, then Ribe's present location would seem to be ideal (see landscape map, p. 11). Land traffic was hampered on two sides of the town, to the west by the salt marsh and to

9

the east by the many arms of the river. But if the main consideration was to afford land traffic direct access to the sea and tidal region, then the places where Gust (passable sand areas) between areas of salt marsh gave on to the shore must be considered likely possibilities. The most promising areas from this point .o~ view s~emed to be in Vester Vedsted and H vtdmg panshes, south of Ribe. The idea of an older Ribe south of the present day town is not a new one: the term Gammtl Ribe ("Old Ribe") has prevailed in Ribe's historical tradition since the sixteenth century. Old Ribe is mentioned by P. Terpager (Ripce Cimbricce, 1736, p. 6) as situated on the moor S0nder Farup Hede in Vester Vedsted parish, ''ubi rudera & vestigia veteris urbis abunde satis conspiciuntur". J. Kinch (Ribt Bys Historie /, 1869, p. 6) could still see "a number of small dikes and enclosures as of gardens" at the site and carried out excavations, but without finding "the remains of walls or any other traces of buildings". The area claimed to be Old Ribe in folk tradition is today a ploughed field. The museum has not excavated there and has on the surface found neither artefacts nor other cultural remains, either of Terpager's "rudera" or of Kinch's enclosures, which may have been sheep folds. During this phase of the investigation two other localities came into the picture. One of these was a field named Dankirke, the other was Okholm, both in Vester Vedsted parish and both first noticed by an amateur archaeologist, K. H0gsbro 0stergaard. Dankirke, excavated by Elise Thorvildsen of the First Department of the National Museum, was found to contain incredibly rich occupation layers ranging in time from approximately 200 BC to the 8th century AD. Among the finds from the latter period were the Frisian coins published by Kirsten Bendixen in the first volume of this series. It would be naturalto regard Dankirke as a sort of forerunner of Ribe, but it does not seem possible to identify this settlement with Viking Age Ribe. On an aerial photograph of Okholm, west of Vester Vedsted, H0gsbro 0stergaard discovered a dark ring. Excavations at the site carried out by Den Antikvariske Samling and Forhistorisk Museum, Moesgard, revealed a settlement from the Viking Age and Middle Ages. The occupation layers, however, had been subjected to heavy erosion by the wind, which was also responsible for the ring formation. Preliminary reports on the two 10

excavations are found respectively in Nationalmusuts Arbejdsmark (1972) and Mark og Montre (1969). As in the case of the town centre, these investigations in the vicinity yielded fine results from a purely archaeological point of view, but did not solve the question of the location of the oldest Ribe. The excavations which followed , in 1970 and from 1972 to 1976, provided the direct basis for the present series of publications. All excavations, large and small, were carried out north of the river, Ribe A, in the area around Set. Nicolaj Gade, from Saltgade in the west to the grounds of the railway station, Baneg:irdsterrrenet, in the east. In other words, the excavations took place on the opposite side of the river to the cathedral and the medieval town centre (see town map p. 6). The detail of the town map (p. 7) shows the position of the excavations. They were begun with a trial trench near the railway station in 1970, followed in 1972 by a more extensive excavation in what proved to be the cemetery of the parish church Set. Nikolaj (43M70). This church is known to have existed from the 12th century until the Lutheran Reformation in 1536. In this area was rather surprisingly found an 8th century grave (Mark og Mont re 1971 ). Building activity at Kunstmuseet in 1973 brought a considerable number of premedieval artefacts to light, which led to the digging of a series of trial trenches with the purpose of locating pertinent cultural layers (6M73, areas 1-11 ). Of these areas, 1, 5 (Kunstmuseets Krelder), and 11 exhibited layers with an abundance of pre-medieval artefacts. Area 7 held the same type of artefacts, but in an obviously disturbed context. The two major excavation areas (Dommerhaven 5M74, and Kunstmuseets Have 4M75) projected our knowledge of premedieval activity at this location into certainty. The trial trench further to the west ( 1OM76) was established with the aim of gaining information on the extent of activity, if possible also on whether a permanent settlement had been present. The major results of these investigations may be briefly described as follows. Despite the very limited size of the excavated area, a large body of artefacts has been found. This material is related predominantly to trade and craft activities. Despite the presence of occupation layers that are unusually thick for the period, no real

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Geological map of the Ribe area.

buildings have been found, only two pit houses. In addition, there are unmistakable traces of open workshops. No definite conclusion regarding the character of the excavated settlement can be offered. A tentative theory is that the site was a permanent settlement with a related market function (Acta Archaeologica, vol. 49). T he dating of the occupation layers depends to a great degree upon the coins, which have been published in the previous volume. Apart from the uppermost layer of phase 4 (regarding phase division, see below), the layers seem to fall within the period 725-800, as confirmed by dendrochronology, as well as by thermoluminescence tests (Arbeger for Nordisk Oldkyndighed, 1979). This dating seems acceptable in relation to the artefact material in general. As may be seen below, there is, however, some discrepancy between this and the generally accepted dates of, for instance, the Berdal brooch types produced in the Ribe workshops. This, undoubtedly, will give rise to some discussion .

As the evidence stands now, it seems an unavoidable conclusion that 1) the occupation layers predate by at least a century the first mention of Ribe: the royal permission from about 860 to build a church in the town, and 2) apart from possible single finds from the later part of phase 4, stray finds from the cemetery, Set. Nikolaj Kirkeg:ird, and stray fi nds made in 1980 in a mixed context in Saltgade (see map, p. 7), the written sources are still alone in representing the town in the Viking period proper. There has - not least due to Projekt Middelalderbyen under Statens Humanistiske Forskningsrdd - been much intensified investigation activity in Ribe since 1979 (Mark og Montre, 1982). Many excavations have naturally enough been concentrated on the area west of the Set. Nicolaj Gade excavations, but a number of investigations, including some current ones, have been concerned with problems pertaining to the castle, Riberhus, and its immediate environs. T hese have uncovered a highly interesting material, but unfortunately nothing which can shed light on the permanent settlement from the 8th

11

century, and nothing which can b~ employed as archaeologicial evidence for the existence of the . town in the Viking period proper. The extremely important problem of contmuity from the late prehistoric period through the Viking period to the Middle Ages has thus not been resolved - rather become even more difficult to explain. As in the first volume, one must therefore from a strict source-critical viewpoint keep the possibility open of a Viking Age Ribe situated elsewhere - of a move away from the site after 800 and a return after 11 00 really having occurred. Until new archaeological evidence has been adduced, it will, however, be useful to adhere to the facts pointed out in the first volume. First, that the oldest Ribe was established at the ideal place for a meeting of land and sea traffic. Second, the few stray finds from the Viking Age proper were recovered in this area. Third, Adam of Bremen's description of the town as being surrounded by water (see vol. 1, p. 51, source 39), best fi ts the area between the rivers Ribe A and Tved A. And fourth, the town's parish churches are situated on both sides of Ribe A, indicating continuity on the north side of the river to the 12th or perhaps 13th centuries. Not until some time during the latter century was the removal of the town centre to the south side completed (see Mark og Montre, 1974, Ribe i 1000 Ar, 1978, and Mark og Montre, 1979). A summary of the division of occupation layers into phases is appropriate here, among other reasons because the various reports on artefact groups will refer not only to the individual layers but to the phase sequence. The occupation layers in the heart of the excavation area, around Kunstmuseet and Dommerkontoret, present the same stratigraphical sequence, thus enabling the grouping of layer series into phases. Phase 1 is the natural surface of the earth. Traces of ploughing have been observed in connection with this layer. Phase 2 is largely refuse, the main content of which is more or less decomposed cattle manure with an admixture of rubbish from the activities of the settlement. Phase 3 is a series of workshop layers, where activities were carried out in the open (or in tents?). Pha~e 4 is. a layer of refuse which is completely mmerahzed. Above this are layers from the 12

Middle Ages and recent times. The investigations at Set. Nikolaj Kirkegcird in 1970 and 1972 do not follow this pattern, neither does the excavation in 1976, although in this latter case the same interval of time was represented. After the excavation in 1975, the sheer quantity of finds made it necessary to discontinue excavation in order to concentrate the limited resources of Den Antikvariske Samling on publication of the results. As mentioned above, the investigations fortunately did not stop there, but their results must be referred to publication elsewhere. Only an excavation in 1976 is included in the present context. All finds, with the exception of coins, which are kept at the National Museum, are at Den Antikvariske Samling in Ribe. It is doubtful whether the museum would have been able to carry out such a research project without assistance from many persons and institutions. Firstly, colleagues from a number of fields were persuaded to put their expertise at our disposal for the purpose of studying and publishing the various topics. Secondly, Sydjysk Universitetscenter (SUC), Ribe Kommune, and the board of directors of Den Antikvariske Samling supported the plan to establish a project for historical archaeology at the Universitetscenter, where the undersigned was furnished with a place to work during a three-year leave of absence. Statens Humanistiske Forskningsrad (Danish Research Council for the Humanities), along with other foundations, supported the project, so that for brief periods it was possible to employ various associates. Grants were also made for study tours. The project assumed an interdisciplinary character, and in accordance with the by-laws of sue. an administrative committee was established, to which the following were appointed: Professor C.J. Becker, K0benhavn, seminarielektor Verner Bruhn, Esbjerg (chairman), lektor Kai H0rbye, K0benhavn, mag.art. Aino Kann Rasmussen, Esbjerg, Professor Thorkil Kristensen, SUC, rigsantikvar, Professor Olaf Olsen, lektor Inge Skovgaard-Petersen, K0benhavn, viceborgmester Leif Steiness, Ribe. The present associates of the project are: Fil. dr. Kristina Ambrosiani, Stockholm (bone, antler and horn). Overinspektor Mogens Bencard, K0benhavn (project director, stratigraphy and excavation).

Museumsinspektor Kirsten Bendixen, Nationa/museet (coins and weights). Konserveringstekniker Knud Bo Botfeldt, Langelands Museum (amber). Museumsinspekter Niels Hald, Mineralogisk MuSI'U111 (mineralogy). Museumsinspektor Tove Hatting. Zoologisk Museum (zoology). Ajdeli11gsleder Hans Arne Jensen, Statsfrokontrol/en (botany). A11tikvar Stig J ensen, Den Antikvariske Samling (bronzes). Mag.art. Lise Bender J ergensen, Kebenhavn (textiles and textile implements). Cand.phil. Karin Levinsen, Arhus (iron). Museumsinspekter Hans Jergen Madsen, Moesg~rd (pottery, Viking Age). Afdelingsleder Helge Brinch Madsen, Konservatorskolen (metal technique). Museumsinspektor Per Kristian Madsen, Den Antikvariske Samling (objects from the Middle Ages and more recent times). Dyrltege Peter Nansen, Landbohojskolen (parasitology). Cand.mag. Ingrid Nielsen, Arhus (leather). Fil.kand. Ulf Nasman, Viborg (glass). Lektor lnge Skovgaard-Petersen, Kebenhavn (written sources). Due to the loose structure of the project, it has not been possible to establish a publication sequence for the various topics, which will therefore be published in the order in which they are ready. The presentation in the present work of such important new contributions to the understanding of the prehistoric bronze-caster's working methods is enabled among other things by the fact that it was possible to excavate parts of the craftsman's working environment. The same applies not least to the bead-maker, who will be presented in a later publication. Apart from ordinary luck in excavation, the archaeological methods employed played a part. A brief orientation is therefore necessary. A guiding principle was that wherever possible the natural stratigraphy should be followed, i.e. the layers should be removed in the reverse order to that in which they were laid down. Where possible, a main profile trench was therefore established, the recorded stratigraphy of which was to guide further excavation. In three cases, an excavation method with arbitrary, horizontal removal was employed:

I. Where the excavation was too small to permit the establishment of a profile trench, 2. where the natural layers were so thick that they could with advantage be subdivided into (as a rule) 10 cm thick layers, 3. where the stratigraphy was so complex that an overall view was obscured by "natural" excavation. In this case 10 cm thick horizontal layers were removed, until the main principle could again be followed. All three types obtained where the concentrations of bronze-casters' waste were found . Area 5 (Kunstmuseets K.elder) had to be excavated according to type I. The interpretation given in the following is thus based on subsequent study of the main profile section and find circumstances. Dommerhaven's area (1974) could unambiguously be excavated as type 2. Type 3 had, after due consideration, to be applied to the upper layers of Kunstmuseets Have (1975), where the best preserved waste layers from the bronze-casters' milieu were found. The interpretation can, however, to a considerable degree find support in the detailed excavation with plotting of individual finds which was carried out during the excavation by Helge Brinch Madsen - and at his instigation. Many are to be thanked for contributing towards the realization of this project. Support, both for the excavation and the subsequent work, has been given by Statens Humanistiske Forskningsrdd, Ribt' Kommune, Den Antikvariskt' Sa111lirzg i Ribe, Dronning Margrethes og Prins Hmriks Fond, Krt'ditforeningen Danmarks Fond for Sterlige Formal and Carlsen-Langes Legat-stiflelse. The permanent staff of Den Antikvariske Samling, and successive conscientious objectors to military service willingly worked to solve the problems raised by the excavations of the 1970s. Especial thanks are offered to registrator Aage Andersen, who overcame the difficulties of registration with his usual care and accuracy, and to Niels-Henrik Olsen, then museumsforvalter, on whom all practical tasks and photography fell. The two major excavation campaigns in 1974 and 1975 increased the excavation staff with students of archaeology and of museum conservation, as well as with a number of volunteers, all of whom are thanked for their participation. The daily supervision of these excavations was entrusted to Steen W. Andersen, now

13

museumsi11spt'ktor, and Ole Schi0rring, now lektor, who first and foremost are to thank for the fact that the excavation is so well documented. Helge Brinch Madsen, now afdelingsleder, came to the excavation as conservator in 1974 and enabled both fi eld conservation and a considerable amount of permanent conservation to be carried out on the site. This has subsequently given rise to marvellous collaboration with the School of Conservation, Konservatorskolen, in Copenhagen, which has been of enormous importance for the success of the project. Last but not least, thanks are offered to those who opened their property to temporary archaeological destruction: Statsbanerne, Ribe Kunstmust'um, Ribe Dommerkontor, Ribe Kommune, konsulmt Aksel Pedersen, and kebmand Arne johansen. Economic and practical contributions to-

wards completion of the excavations were also made by the four financial institutions of Ribe (Sparekassen Bikuben, Den Danske Provinsbank, Privatbanken, and Sparekassen }Jlland), Ribe Amt.s Ku lturfond, and Ribe Kommune's work programme for the unemployed. The actual publication of the excavations has in no small way been made possible by Sydjysk Universitetscenter, which in 1977 opened its doors to the project. For this, gratitude is owed to Universitetsudvalget. The project is much indebted to centerrddsformand Andreas j0rgensen, who not only originated the idea, but also worked hard to make it a reality. Sydjysk Universitetsforlag is hereby thanked for having undertaken the task of publication. The above-named project committee is offered warm thanks for having given time and thought to the project. Mogens Bencard

14

Metal-casting Techniques, Production and Workshops H. BRINCH MADSEN

Dedicated to the memory of Professor, dr. phi!., Ole Klindt-Jensen

15

Contents Preface

21

Introduction

22

Treatment and conservation

24

Foundry objects

25

Crucibles I. Thimble-shaped crucibles 2. Thimble-shaped crucibles with lug 3. Thimble-shaped crucibles with handle 4. Thimble-shaped crucibles with thin rim and thick base 5. Lidded crucibles 6. Watchglass-shaped crucibles 7. Flat rectangular crucibles Metal analyses Distribution in relation to square and layer Distribution of types in relation to phase and concentration Summary

Tuyeres Distribution in relation to square and layer Summary

Forge-pit slag Distribution in relation to square and layer Summary

Sintered clay Distribution in relation to square and layer

25 26 26 26 26

27 27 27 27 28 28 28 28 30 30 30 30 30 30 31

Bronze blanks and waste

31

Charcoal

31

Moulds

31 33 34 35 35 35

Mould construction Porosity The ingate system Aspiration Turbulence Summary

36

Object impressions

37

Tortoise brooches

37

Berdal type I Berdal type 2 Berdal type 3

37

46 53

17

Berdal t ype 4 Berdal type 5 Berdal type 6 Berdal type 7 Berdal type 8 Distribution in relation to phase and concentration Archaeological placement

Keys Type I Type 2 Type 3 Type 4 T ype 5 Distribution in relation to phase and concentration Archaeological placement

Pins Distribution in relation to phase and concentration

Equal-armed brooches Ring brooch Penannula r brooch Horse brooch Fittings Unidentified

Distribution of finds Kunstmuseets Kcelder Concentration I

Domme rhaven

74 74 75 75

76 76 76 76

77 77

78 78 78 78 78 78

79 79 79 81 81

Concentration 2 Concentration 3 Concentration 4

82

Ku nstmuseets H ave

84

Concentration 5 Concentratio n 6 Concentration 7 Concentration 8 Concentration 9

85

83

86 87 88 89

Summary

90

Interpretation

91

Production 1. Manufacture of models 2. Manufacture of moulds 3. Melting and pouring metal 4. Aftertreatment of the casting Serial production Variants New types Minor changes

Workshops The geographical distribution of cast Berdal brooches

Conclusion Dansk resume

18

60 67 67 68 74 74 74

91 91

92 93 93 93 93 93 95

95 95

98

99

Notes Bibliography Catalogue Crucibles T uyeres Forge-pit and vitrified slag

103 104 105 105

130 135

Sintered clay

138

Bronze wasLe and raw material

139

Moulds

141

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Preface On the occasion of the publication of this work, it is a pleasure to convey my thanks to all those who have directly or indirectly afforded assistance and valuable advice. Firstly, I have to thank overinspekter, mag.art. Mogens Bencard for allowing me to work on and publish the metallurgical material. He has helped and encouraged me in every way throughout the whole process. Especial thanks are due to Statens Humanistiske Forshningsrad, who have provided me with financial support for travel and leave of absence. I have to thank N. Hald, Mineralogisk Museum, P. Solgaard, Forsegsanlceg Rise, P. Wagner, Botanisk Centralbibliotek, R. Crepaz and J. Lemkov, Industriel Metallurgi, Teknologisk l nstitut, K. Thamdrup, Ribe Amtsgdrd, and E. Hansen, Forhistorisk Museum, Moesgdrd, for performing

the scientific analyses and providing the expert assistance which were prerequisite for understanding the technical processes involved . To all the others who have actively helped

me, my warmest thanks: B. Ambrosiani, V. L0nborg Andersen, R. Blidmo, C. Blindheim, C.L. Curie, J. Fastner, S.H.H. Kaland, M.S. Koch, K. Lamm, E. Benner Larsen, A. Lundqvist, T . L0ken and M. 0rsnes. Jette Madsen and Moira Mackenzie took on the colossal task of producing the numerous drawings and P.J . Crabb is to thank for the carefu l translation. Finally, I would like to thank the principal of Konseroatorskolen, H .P. Pedersen, and teachers and students of the culture-historical department of the school for loyal support. This work is dedicated in gratitude to the memory of my mentor in archaeology, Professor Ole Klindt-Jensen. Professor Klindt-Jensen's fascinating lectures on Iron Age art and crafts awoke my interest in ancient crafts and technological history. As a brilliant and erudite source of inspiration and helpful friend he provided the guidance and support which encouraged me to embark on this comprehensive study. June 1983 H elge Brinch M adsen

The following institutions are thanked for photographs and photography of artefacts: Nationalmuseet, Copenhagen Odense Bys Museum, Odense Forhistorisk Museum, Moesg:hd,

Universitetets Oldsaksamling, Oslo: Jotograj

E.I. J ohnsen and 0. Hoist

Arhus: fotograf

P. Dehlholm Statens H istoriska Museum, Stockholm

Bergen Museum, Bergen: fotograf A.-M. Olsen Arkeologisk Museum, Stavanger Trondheim M useum, Trondheim.

21

Introduction Very large amounts of jewelry from the Viking Age have been found in Denmark, often elegant pieces, both in design and manufacture. Gold, silver, bronze and copper have been utilized, and the technical execution reveals that the craftsmen have mastered to perfection the techniques of both casting and chasing. Unfortunately, there are very few finds to show how craftsmen worked, especially to cast metal. From the entire Viking Age and the immediately preceding period, Denmark has yielded only seven moulds of steatite, one of limestone, less than thirty fragments of clay moulds, and a few more or less entire thimble- and watchglass-shaped crucibles of clay. Three of the soapstone crucibles were found at Fyrkat and one at Trelleborg, and the limestone specimen is from Aggersborg. These five, and a specimen of unknown provenance from a private collection in Silkeborg, have been designed for the production of rod-shaped bars. The two other soapstone moulds are surface finds: the one from the island of Egholm in Storeb:elt has depressions for rod-shaped bars and a Thor's hammer (37, 27); the other one, from Trendgaard, in Trend, Himmerland, has depressions for a Thor's hammer, a cross, and rod-shaped bars (37). The Fyrkat camp has yielded two of the mould fragments of clay. One of them has a little of the casting funnel preserved, while the other bears the impression of a twisted object (37). Twenty-three fragments have been found in Arhus (3). These are of clay tempered with fine sand. It is apparent from several of the specimens that two-piece moulds have been employed. In two fitting fragments, a ring-shaped object has been cast (3). A fragment of a mould for at tortoise brooch has been found at Lindholm Heje (35). The crucibles are from Fyrkat (37), T relleborg, Arhus (3), Lindholm Heje (36), Vorbasse (16, 17) and Gammelby (44).

22

Altogether, a very limited material, not affording the best possibilities for understanding the processes lying behind the production of the multifarious forms of ornament. We can see that open moulds of soapstone must have been used for casting bars, Thor's hammers and crosses. These are simple in execution and without undercutting. The clay moulds have been used for more complicated objects. Two-piece and perhaps also closed moulds have been employed. All the crucibles are of sand in a matrix of clay, either thimble-shaped or flat watchglass-shaped, and no doubt represent different melting processes. The limited Danish material pales into insignificance in relation to what has been found in neighbouring countries, in Hedeby, Lund, Birka, Helgo and Kaupang. The rich finds from Hedeby, Birka and HelgO in particular have long been the object of study in Germany and Sweden (6, 7, 9, 11, 19, 20, 22, 23, 24, 29, 30, 45, 46), a study which has yielded much valuable and interesting information and raised a number of questions on casting in the late Iron Age. Unfortunately, the paucity of Danish finds has meam that there has not been much Danish participation in this field (although Else Roesdahl in her presentation of the material from Fyrkat touches on several technical problems relating to casting (37)). We now have the opportunity of remedying this situation, based on the finds from Den Antikvariske Samling's excavations in Ribe, north of the river, Ribe A, in 1970-76. The finds relating to metal casting made here will quantitatively and qualitatively be equal to the finds from the above-mentioned localities. The excavations were directed by antikvar Mogens Bencard, Den Antikvariske Sa mling i Ribe, who in the introduction to this volume has described the context in which they took place.

In 1975 a project group was set up under the direction of Mogens Bencard, the members of which undertook to study and publish the material in one or more specific field s. As I had been attached to the excavations as field conservator, I had had at a very early stage an opportunity to examine the artefacts, including the porous mould fragments, which had to be cleaned un-

der the microscope. This work greatly increased my interest in the ancient techniques of me talworking, and I was therefore pleased to accept Mogens Bencard's invitation to publish the metal-casting finds. With a view to early publication, it was decided to present this material in the form of a catalogue with accompanying commentary.

23

Treatment and conservation All finds were collected by square and layer, and washed before proceeding to conservation and registration. Artefacts were washed under running water, using a brush if necessary. This treatment proved too harsh for the porous mould fragments, whose impressions could easily be effaced with a single stroke of the brush . Initially, several specimens were unfortunately damaged in this manner, but all mould fragments were subsequently laid aside before the routine washing and first cleaned in the conservation laboratory, where the earth was carefully removed under the microscope with fine squirrel-hair brushes and sharpened matches. The porous fragments were then stabilized in a 5% solution of Butvar (polyvinyl butural) in propyl alcohol, impression side up and thus always above the fluid. The solution was transported by capillarity up into the fragment and in this manner the formation of small pools in the impression face which could disturb the picture avoided. This treatment will, however, restrict the possibilities of investigating organic material in the matrix, so a number of untreated specimens were also reserved for analysis. After the varnish had set, impressions were taken of those fragments with a sculpted surface. Silicone rubber was employed, which gives a very precise impression and is so flexible that it can be removed without damage to the mould. Simultaneously, the artefacts were registered.

24

In this catalogue they are grouped by kind: first crucibles, then tuyeres, forge slag, sintered clay, raw metal and moulds; within each group they are arranged by accession number, retaining Den Antikvariske Samling's system. When an object comprises several numbers, it is listed under the lowest. All pieces have been measured and weighed, with a brief desciption of the salient features. A few pieces have been reserved for analysis and the results presented in the commentary. Nearly all pieces with an impression surface have been drawn. The fragments from 1973 and 1974 deriving from moulds in which simple objects have been cast have been drawn as seen, whereas we have preferred to draw the complex impressions of the 197 5 form fragments from casts. This has been done both to ease the work of drawing and to facilitate a comparison with existing cast objects. In the case of the tortoise brooches of Berdal type, the position of the drawn fragments is indicated on a standard drawing. All drawings and photographs are reproduced I :I . In the commentary, each group is described with the available results of analysis. The finds are presented from a technological point of view: chronological and stylistic aspects are not treated. This will occur in another context. Furthermore, I have, in order to expedite publication of the catalogue, resisted the temptation to discuss metal casting in the late Iron Age in depth.

Foundry objects Crucibles 225 fragments of crucibles were recovered; they are often very small and in only a few cases has it been possible to reconstruct an entire or nearly entire crucible. All crucibles are of sand, bound together with clay. The fabric is as a rule grey or greyishblack, and the outer surface is hard-fired, often vitrified, and coloured red or green or both. In many cases large grains of quartz are fused to the base. Thin sections of crucibles D 5955 and D 10545 have been prepared. According to Niels Hald, Geologisk Museum, D 5955 contains about 25% sharp-edged to rounded quartz grains with a maximum size of 0.05-0.1 mm, less than 5% sharp-edged to rounded grains of quartz with a maximum size of 0.5-1.0 mm, scattered grains of ore (less than 0.1 mm), and elongated, up to 0.5 mm brown grains, possibly metamorphosed micaceous minerals. The matrix consists of colourless "glass" (sign of fusion of many very small mineral grains). The specimen is slightly blistered. D 10545 resembles D 5955, but contains besides quartz some grains of felspar. With a view to determining the composition of the finegrained glassy matrix, a diffractogram of 05955 has been made. Quartz can be identified here, but several lines cannot be identified, and thus no new information of importance has been obtained. But it has been ascertained that clay minerals are not (or no longer) present in measurable quantities.• The thickness of the crucible sherds lies between 3 and 15 mm. It is characteristic of most of them that one or more c. 1-2 mm thick layers have been applied to the original surface, and it can be seen that the outer surface

of each was vitrified before the next layer was applied. Now and again an applied less than 0.5 mm thick coating of clay may be found on the inner surface. The applied outer layers may best be explained as refurbishing. The crucibles must have cracked due to the uneven heating which occurs when fresh air is blown into the forge from one side only, and the added layers probably served to seal the cracks, so the crucible could be used again. The inner layers are more difficult to explain. They too, may have served in refurbishing, but they are almost too thin for this purpose. One possibility is that they were designed to ensure that metal from a previous melt did not mix with the new metal and thus alter the alloy composition and properties of the casting. Most of the crucible fragments are 5-8 mm thick and only a few attain 15 mm. In those cases where enough of the crucible is preserved for the height to be measured, it lies between 3.1 and 9.8 cm. It does not serve any useful purpose to divide the material up according to thickness or to the height: thickness ratio. Similarly, there are no apparent differences in the fabric. Morphologically, however, the following 7 types can be discerned: 1. Thimble-shaped crucibles 2. Thimble-shaped crucibles with lug 3. Thimble-shaped crucibles with handle 4. Thimble-shaped crucibles with thin rim and thick base 5. Lidded crucibles 6. Watchglass-shaped crucibles 7. Flat crucibles

25

1. Thimble-shaped crucibles

and the thickness between 4 and 12 mm. The lugs are rectangular applied pro· . ~ectJons .h h . h f w1t a e1g t o 5-20 mm, width of 12.40 mm and depth of 9-18 mm . They are placed h . d . I f h on t e cy Im n ca part o t e crucible, usually just bel the mid-point. ow Crucibles of this type have been found 10 · . Birka and are there dated to the Viking penod. 3. Thimble-shaped crucibles with handle

Fig. 1 Crucible sherd D 10830 (type 1).

These crucibles are cylindrical with rounded base, and the waUs have practically the same thickness from rim to base transition (fig. 1). To this type may be assigned with confidence D 10830 and D 10927. Other sherds should probably be referred to it, but they are too small and uncharacteristic for it to be decided whether they belong here or in the next group. Unfortunately, too little has been preserved for the height to be accurately ascertained, but in the one case it must exceed 3.7 cm and in the other 4.3 cm. Wall thickness is 7 a nd 4 mm respectively. This type of crucible is known from Fyrkat (37), Birka (7), H elg (23) and Hedeby (30) and is dated there to the Viking period.

One of the crucible sherds, D 9499, is fu rnished with a strap handle, attached just as the handles in pottery (fig. 3). I know of only one parallel to this crucible, found on Kaupang in Norway, where it is dated to the Viking period.

2. Thimble-shaped crucibles with lug

4. Thimble-shaped crucibles with thin rim and thick base

....······

.·

Fig. 3 Crucible sherd D 9499 (type 3).

Fig. 4 Crucible sherd D 7327 (type 4).

Fig. 2 Crucible D 6236 (type 2).

These cr ucibles resemble the foregoing, but are furnished with a lug (fig. 2). In certain cases, they are not quite cylindrical, the rim being constricted. The height ranges between 3.1 and 9.8 cm

26

To this type may be assigned D 7327 (fig. 4), which is 3.8 cm high. Corresponding crucibles have been found on Helgo. They cannot be dated precisely yet, but possibly belong to the Vendel period.

Fig. .5 Liddtd n'llriblr D 6210 (typr .5).

These crucibles consist of a boat-shaped bowl, outside of which is a casing of day which continues above the rim to form a lid with a lug (fig. 5). In one case, so much of the outer casing and lid is preserved that the height from base to lid can be ascertained: 5.1 mm. This crucible has been furnished with a lug in the centre of the lid, now broken off. The boat-shaped bowl is made of coarse sand and clay. Its thickness is 4 mm. The rim is elliptical with a tiny spout. These crucibles are so precise and uniform that they appear to have been made o,·er a model. Lidded crucibles are not uncommon in Scandina,;a and are known from several sites in Norway and Sweden, the best known being Helgo. A Danish specimen has recently been found at an Iron Age settlement near Stavad in Vendsyssel ( 13~ But in these crucibles the lug is placed at the rear of the lid at the opposite end to the spout, whereas in the Ribe crucible the lug was placed in the centre of the lid. Crucibles with a lug in the centre of the lid are known in a few examples from Helgo (23). A few are also known from Dinas Powys (1), Dunadd and Garryduff, in Wales and Scotland. Kristina Lamm dates them to the period between the late Roman Iron Age/ Germanic Iron Age and the Viking period (23). 6. Watchglaas-shaped crucibles

T hese crucibles are round in sect ion with a conca\'e, \'itrified inner surface and a convex outer surface (fig. 6). The best preserved piece. D I 0492 , has had a diameter of about 5 cm and a thickness of 1.5 cm. Similar crucibles are known from Fyrkat. Trelleborg (37). Hedeby (37. 20). Helgo and Birka (J7). Outside Scandinavia they are known from Bosau in Holstein, Dublin and Lannore Crannog in Ireland (37), and Flaxgate in Lincoln, England. In most places they are dated to the Viking period, but the finds from Helgo and Bosau suggest that they were also used earlier. E. Roesdahl believes that they served to support silver during soldering and calls them heat-plates (37). 7. Aat rectangular crucibles

Fig. 7 Crucible D 10511 (l)pe 7). Only one example of this type has been found, D I 05Il (fig. 7), but it is complete. It is 5.2 cm long and 3.9 cm wide with a c. 1.0 cm high rim which in one corner has been drawn slightly up and out. Tong marks show that the crucible was lifted by this corner. The crucible presents itself as an odd lump of sand-tempered clay with a small depression. Flat rectangular crucibles are known from, among other places, Helgo (23, 15), but none resembles the Ribe specimen. Metal analyses

On account of the soil conditions, all remains of metal are corroded and present only in the form of corrosion products. This means that the composition has been altered to such an extent that a precise assay of the original alloy cannot be obtained. The I2 analyses which have been carried out are therefore semi-quantitative, the values being on a relative scale for each element without relation between scales.!

Fig. 6 Walchglass-shaped crucible D 10492 (type 6).

27

Table 1 Ace. no.

Table 2 Type

Sn

Cu

Zn

Ag

Pb

Phase 2

010830 010927 06858 05930 07 108 06986 06249 06987 09778 06210 06798 010492

I

I

2 2 2 lh lh lh lh

10 10 20 10 30 30 50 10 10 20

5 5 6

20 20 10 20 20 10 10 20 10 10 10 10

10 10 100 100 10

3

3 I

I

I

2 3

3 3 3

2 3 4 3/ 4 Unphased

5

5

I

I

10 30 10 10 10 5

5

10 5 10 5

5 10 100

Type 4

5

16 7

6

I

2

6

7

2

2

3 10

Table 3 Although it was not possible to obtain a correct quantitative analysis of alloy composition, the analysis shows that bronze, brass, silver and lead have been cast. Distribution in relation to square and layer

Crucible fragments were found in excavation areas 1, 5, 7 (6M73), Dommerhaven (5M74) and Kunstmuseets Have (4M75). T hey occur in phases 2, 3 and 4. Their distribution by square and layer is apparent from fig. 128-138, where they are shown with mould fragments, tuyeres and forge-pit slag. Each large accumulation of foundry waste has been termed a concentration. This concept will be explained in a later section. Distribution of types in relation to phase and concentration

The distribution of crucible types according to the different phases and concentrations is given in tables 2 and 3. Unfortunately, there are far too few characteristic pieces to show clear chronological differences between types, neither is it possible to decide whether one type of crucible has a stronger representation in one concentration than in another.

Concentration

Phase 2

I 2 3 4

5 6 7 7/ 8

9 Outside

2 4 3 2 3 3 3 3 9

-

11

Type 3 4

5

6

7

2

I 4

2 4

2 3 I

2

8

Summary

All crucibles are of sand in a matrix of clay which is no longer present in measurable quantities. On the basis of morphological features, the material may be classified into 7 types. The same types are known from other finds in northern Europe. They are dated to the late Iron Age and especially to the Viking and immediately preceding periods. Semi-quantitative analyses show that silver, bronze, brass and lead have been cast. It has not been possible to link particular types of crucible with specific alloys, neither has it been possible to draw chronological distinctions.

Tuyeres Nearly all excavation areas yielded more or less fragmentary clay plates, one side of which is vitrified and the other not particularly hard-fired. ln several cases they can be assembled into D-shaped plates with a central hole: tuyere front-plates of the same type as those isolated by R. Thomsen in Hedeby (43). Most of them were

28

found with iron slags or fused to them and must pertain to blacksmithing. But other small vitrified clay plates occur which differ in never being fused to iron slags, in being smaller and in the very small size of the blow tube. These pieces are included here because they

occur in concentrations with foundry remains. The list also includes fragments of vitrified clay plates without blow tubes, when they occur in areas with other foundry waste, although they cannot always be clearly distinguished from similar fragments from the smith's tuyere. The material is day with sand and now and again grit and small stone inclusions. Although the material is limited in quantity and very fragmentary, I believe I can distinguish tWO types: 1. Tuyeres with quadrilateral front. 2. Tuyeres with D-shaped front. To type 1 (fig. 8) belong D 6717, D 6805 and D 12645.

Fig. 8 Tuyere fragments D 6717 (type I).

Of D 6717 so much is preserved that it can be seen to have been over 5 cm long. D 6717 and D 12645 have an almost square front, whereas D 6805 has had an almost rectangular front. To type 2 (fig. 9) belong with certainty D 7018, where the whole front is preserved, and D 6878. For melting metals like bronze and silver, which have a high melting point, it was necessary to raise the temperature artificially. This could be done by means of fans, blowpipes or bellows, whereby the fire received a constant supply of fresh air. When bellows were used, it was necessary to employ a tuyere. A tuyere is simply an object with a conical hole in it, the smaller opening facing the fire. It serves to direct the air from the bellows onto the

Fig. 9 Tuyere fragments D 7018 (type 2).

coals, to protect the bellows nozzle from the fire and to prevent the bellows from sucking back embers. If the bellows are not furnished with an air valve, it is dangerous to place the nozzle in a cylindrical tuyere tube, because when air is sucked in, it will come from the fire. This will not only cool the fire, but there will be an accompanying risk of coals being drawn in, causing the bellows to explode and shatter. This is prevented by making the tube conical. With the bellows pipe resting on the rear edge of the tube, air is sucked in mainly from the sides, behind the tuyere, and embers are kept out. Tuyeres may be round, conical, tubular, oval, D-shaped, rectangular or square, and they may be of iron, soapstone or clay. They often occur in Iron Age settlements and bear witness to craft activities requiring high temperatures. Of the two types which can be distinguished in the Ribe material, the quadrilateral is the more common. The oldest I know of is from Manching, Germany, and is dated to La Tene. G. Jacobi connects them with bronze casting ( 18). From the same period and from the early Roman Iron Age, quadrilateral tuyeres have been found at iron-refining sites in Czechoslovakia, Germany and France (34). A corresponding tuyere, but in soapstone, has been found in Djursland, Denmark. P. V. Glob dates it to the 6th century (14). From Sweden come two wellpreserved specimens of day. One is from Ekeby, Sl>dermanland, and is dated by A. Oldeberg to about 700 AD (30). The other is from Karsta, Uppland, and A. Oldeberg dates it to the Viking period (30). Both are grave finds, but cannot be related to a craft. The best parallels occur on Helgl>, however,

29

where about 1500 fragments of the type have been found, many of them decorated on the upper surface. They are dated to 500-600 AD. At present, it is not possible to relate them to a particular craft (25). Tuyeres with D-shaped front resemble in shape those tuyeres found with iron slags. But they are somewhat smaller, and while the diameter of the blow tube in this type never exceeds 1.5 cm, there are no blow tubes in the smith's type smaller than 2 cm. Distribution in relation to square and layer

18 fragments with blow tube occur, 8 of which derive from concentration 1 in phase 2, 4 from concentration 7 and 4 from either concentration 7 or 8 in phase 3. Of the last two, one is from phase 3/4 and the other from phase 3. Both types occur in concentration 1, and a type 1 occurs in phase 3/4. It is not possible to see any chronological dif-

ference between the two types, but it is interesting to note the marked occurrence of tuyeres i the concentrations with foundry waste. There i~ no doubt that these small tuyeres with the narrow blow tubes belong to the metal founder's set of tools. Summary

Fragments of small tuyeres were found. They consist of clay with a sand and grit inclusion. Two types may be distinguished. Similar types are known from nothern Europe, where they are dated to the Iron Age. It is not possible to demonstrate chronological differences between the two types from an examination of their distribution in the find - they are too small and fragmentary. The distribution of tuyere fragments with small blow tube, however, shows a clear association with foundry waste. These tuyeres must have been used by metal founders.

Forge-pit slag Among the vitrified slag material are 6 concavoconvex pieces of fused sand and clay. The concave side is always vitrified and the convex encrusted with sand. (See D 5525 in the catalogue). On three of them are green corrosion products of a cupric metal alloy. They are probably the result of fusion of sand from the bottom and sides of a forge pit and sand cast down from above, and should thus indicate the size of the pit. In surface area, the largest has been 11.5x9 cm, and in depth, 5 cm. The catalogue also lists uncharacteristic vitrified slag from concentrations 7 and 8. Here too, it is a case of sand fused together into large lumps, probably representing sand cast onto the

hearth to regulate the temperature. Distribution in relation to square and layer

2 forge-pit slags derive from concentration 1 in phase 2, and 1 from concentration 7 in phase 3. The remaining 3 are from recent layers. The three pieces from undisturbed layers demonstrate a connection between this kind of slag and foundry waste. Summary

Among the slags were a few concavo-convex pieces consisting of fused sand and clay, and fused, vitrified lumps of sand, thought to derive from forge pits. Their distribution is associated with the other foundry waste and they undoubtedly derive from metal founders' forges.

Sintered clay Between the crucible fragments and the tuyere fragments lay a number of sintered clay fragments, which cannot be referred to any of the above-mentioned artefact groups. They resemble the crucibles in fabric by being heavily sintered, but the shape and thickness are

30

highly variable and rule out their use as crucibles. Neither do they have traces of red- or yellowfired clay on one side, as found in the tuyeres. Unfortunately, the material consists of small fragments which do not really seem to represent an entity. T hey are often highly distorted and

their thickness varies from I to 15 mm. Nearly all the sherds have a vitrified outer surface and a sintered inner surface and fabric. They have probably been used as packing material for objects to be melted or subjected to great heat, but without coming into direct contact with the flames. Marks on the inner surface suggest that the metal, if molten, was allowed to solidify in the

sintered packing. Distribution In relation to square and layer

33 fragments derive from concentration I, I from concentration 3, 5 from concentration 7, 20 from concentration 7/ 8 and 4 from concentration 9. T he circumstances indicate a connection with foundry work.

Bronze blanks and waste In relation to the many fragments of crucibles, tuyeres and moulds, it is surprising how few blanks and waste products of bronze are extant. The blanks comprise only 1 small bar with D-shaped section, D 4291, and 2 flat-hammered bronzes D 6904 and D 7271 , the latter piece with

hammered transverse grooves. 5 rather short bronze wires complete the inventory. Neither is there much foundry waste: apart from some molten lumps only a mould clod D 9400, deriving from a mould which stood at a slant during casting, and which has burrs to show that it derives from a two-piece mould.

Charcoal In Kunstmuseets Have 4M75 layer QD (=concentration 7), charcoal was found in an area covering just under 0.5 sq.m. Samples have been identified by cand.scient. Peter Wagner, Botanisk

Centralbibliotek, Copenhagen. Of the samples submitted, the following identifications were made: 72 Q uercus sp., oak; 22 Alnus sp., alder; 4 Fraxinus sp., ash; 2 Betula sp., birch; and 1 Populus sp., aspen.

Moulds Altogether, over 1600 mould fragments were found, with a total weight of about 7.5 kg. The fabric consists of micaceous clay with an admixture of sand, chamotte and fine organic material. As a rule, the outer surface is red- or yellow-brown and the inner black. With a view to qualitative analysis, thin sections have been prepared of D 5929, D 6997 and D 10741. According to Niels Hald,' D 5929 contains about 30% sharp-edged to somewhat rounded, up to 0. 1 mm large colurless grains of quartz, a few colourless felspar grains of the same size, about 2% up to 'I• mm large colourless plates of mica, and a few - not investigated grains of black ore, in a brownish, fine-grained matrix. The grains of quartz are found in all sizes from 0.1 mm down, and a considerable amount of quartz may thus be concealed in the

coloured matrix. A few organic remains are also present in the section. D 6997 and D 10741 resembleD 5929 somewhat, but differ in containing a few per cent quartz grains considerably larger than other grains in the section (typically ~ mm). As with the crucibles, diffractograms of D 5929 and D 6997 did not yield important information on the composition. In both diffractograms, quartz and mica could be identified, but in addition they contained several lines which it has not been possible to identify. Niels Hald concludes that micaceous clay was used in these moulds and presumably also in the crucibles. This may be of local origin, but the mineralogical composition does not rule out an origin in northern Germany or Holland, for example. Neither is micaceous clay peculiar to

31

/

0

•• •

....

-....., __ , ____ ', -,,

,_

............ ,

e

I

MC

0 MS

I

\

,__ , ___,""

Fig. 10 Deposits of micaceous clay (MC) and micaceous sand (MS) in the Ribe area.

northern Europe. Micaceous clay and sand were deposited in the Tertiary Era's more recent periods in an extensive flood delta or inland sea, and came to form the substratum for the Ice Age glaciers. The micaceous strata in Ribe lie deep below the surface, but may be encountered as discrete intrusions in the overlying moraines or as mud mixed with overlying younger sedimen ts (26).J The map fig. 10 shows surface deposits of micaceous clay (MC) and m icaceous sand (MS). Although they occur more than 15 km from Ribe, they have clearly been preferred to the boulder clay found at Lustrup, about 3 km south of the town. This clay is rather calcareous and not particularly suitable for moulds, because when heated it gives off carbon dioxide, which can penetrate the casting and ruin it. Moulds of micaceous clay also occur at Birka, H edeby, Lincoln, Birsay, and elsewhere, and there seems to be a distinct tendency to use this clay for moulds, although mica does not possess particular qualities favouring its use in foundry

32

work - on the contrary it is not particularly fireproof. But it may be that the mixture of clay and sand in the deposits containing mica imparts good mould ing properties, in which case the mica would merely have been the visible indication of suitable material. At Teknologisk Institut's Afdeling for Industriel Metallurgi, TAstrup,4 D 686 1 and D 11629 have been analysed with a view to determining the porosity and compressive strength, loss on ignition (organic content), quantity of clay particles St'IIIS 1 gram mI'.

86

·- ·-

n

I I

+

AH

AG

I

I I

+

+

0

2

mete n

4

6

concentration 7

+

+

-t

108/ -t 1· - · r / 221·

I I

-t ' I

I

+! I

I

I

· -·- · -

·

+

108/

+ 'I

+

+

+

+

AB

AA

AC

AD

AE

AF

I

I

r-------,-------r------r------+-----~r-----~~~~~~~~------11 AK

Al

AM

AN

AO

+

I

AP

AQ

All

AS

I

~------t------+------+------+------+-----~------~----~--1 + 1 125,501 AU

AW

AY

AX

AZ

Ae

AlE.

/

1 217

I

r--------r------t------+------~----~~----~------L_---- 1+ I

BA

BB

BC

BD

BE

I

BF

I

~----~r-----+-----~-----+----~------~----~

BG

BH

BK

BJ

Bl

BM

BN

+I ~------~~~~.~~ - -~ - =-~-~-~----.~--.---.----~----~L-----~~1 I I

I

+

+

114,5%

210

I

+

123/ /213

I

_ __ _ J

I

AJ

I

/ 215j

+I

+

+

+

·- ·- ·- ·- ·- ·- ·-· - ·- ·

AT I

+

I

I

+

I

i+ 0

2

meter• 4

Fig. 136 Concentration 7.

Fig. 136.}'he next layer with foundry waste in squares AF and AG is layer Aj, the sandy levelling layer for the activity level proper, layer QO. Because it contained large amounts of foundry waste, it probably represents a metal-founding workshop. Unfortunately, QO and the suprajacent AAE now assigned to concentration 8 were excavated in the belief that they represented a single bronze foundry. It is therefore difficult to correlate the finds with the stratigraphy (see fig. 132 and 133). (The same circumstance prevents the giving of an exact weight for concentrations 7 and 8 .) But if we examine the mould fragments which were plotted precisely and whose co-ordinates and levels are given in the catalogue, we are reasonably justified in attributing the following pieces to layer Aj and QD, concentration 7: D 10446 Berdal brooch , type 1b

0 10451 Berdal brooch , type 1b 0 10452 Berdal brooch, type 1b 0 10457 Berdal brooch, type la 0 10458 Berdal brooch, type 1b 0 10460 Tortoise brooch, type undetermined 0 10461 Berdal brooch, type 1a 0 10469 Berdal brooch , type 1b D 10472 Berdal brooch , type 5 0 10474 Berdal brooch, type la 0 104 77 Tortoise brooch, type undetermined 0 10484 Berdal brooch, type 1b 0 13044 Tortoise brooch with style F decoration 0 13057 Berdal brooch , type 1 0 13058 Berdal brooch , type 1 0 13064 Tortoise brooch, type undetermined. Concentration 7 seems to have a very limited repertoire, with one exception only the two variants of type 1 being present. It pertains to phase 3.

87

q

Concentration 8

+

+

+

+

+

+

+

+

+

+

+

+

·- ·- ·- ·- ·--- .... 10%:1i- . - ; - . - . - . I I

+~

AA

AB

AC

AD

AE

AF

AJ

I

I

I

+

I

I

AK

Al

AM

AN

AO

AP

AO

AS

All

+i

I

I

I

~------~----4-----~----~~----1------t----~r-----~~ ./

AT

AU

AX

AW

AY

AZ

Ae

A/£

+

125 , 5o/217

/

I

+I

i

108 / /215 .

r-----~~----~----+-----~-----+-----1------~--~ +

AA

BA

BC

BB

BD

I

BF

BE

I

+ ·I I

I

BG

BH

- . - .I

BK

BJ

Bl

BM

BN

·- ·- ·- ·- ·- ·- · +

I I

+

123/ / 213

+

I I

j+

+

D

114 , 5cx 210

2

me te r• 4

e

Fig. 137 Concentration 8.

Fig. 137. Suprajacent to layers QD and Aj is laye r AAE. Layer AAE also represents a foundry activity with moulds, crucibles and tuyeres. The following pieces may be attributed to layer AAE, concentration 8 : D 10443 Berdal brooch, type 2 D 10444 Berdal brooch, type 2 D 10445 Tortoise brooch, type undetermined D 1044 7 Equal-armed brooch D 10448 Horse brooch and unidentified object D 10462 Unidentified object D 10463 Tortoise brooch with style E decoration D 10466 Indistinct impression of Berdal brooch of type 2 D 10475 Berdal brooch, type 2 D 10628 Berdal brooch, type 4

88

D D D D

13042 Tortoise brooch, type undetermined 13055 Tortoise brooch, type 2 13 148 Equal-armed brooch 13149 Berdal brooch, type undetermined. Concentration 8 pertains to phase 3. On the basis of the distribution of the plotted mould fragments, we can see that there is a difference in the inventories of the two concentration areas 7 and 8. T his difference supports the stratigraphical observations. T here is also good reason to believe that each concentration represents a foundry activity. But unfortunately, most of the finds were recovered in a manner which prevents their being attributed to particular workshops. However, areas containing these activity layers are as yet unexcavated, so the future may clarify the picture.

concentration 9

+

+

+

+

+

+

+ ,......-

+ 10&/ i- · -

·- ·- ·- ·- ·-·- ·-·- - ·- ·- ·

/ 221 ·

AA

I

AB

AC

·- ·- ·- · ·- ·- ·- · AD

AE

· -· - ·- ·

·- ·- ·-· ·-·- ·-·

I

~

AF

I

+i

+

+

+

+

+

AJ

AH

I I

· + I

AK

AL

AM

AN

AO

AP

AS

All

AQ

I I

,· +

I

+ -

1

I

I

AT

AU

AW

AX

AY

Alii

A..

AZ

I

I

I

+t

10&/

I

.

/ 2151 I

AA

lA

BC

88

BD

I

I

I I

BG

! I

I

ISH

BK

BJ

- ·- ·- ·- ·- ·- ·- ·+

BL

I

BM

BN

I I

·- · - · - ·- ·

·+

I

BF

8£

+ ·I +

. 125, 5 'Y: 2 17

+ 12% 213

+

I

I

·+

+

I

114,5 0/ /210

2

0

meter• 4

8

Fig. 138 Concentration 9. 1 mm 2 represents 1 gramme.

Fig. 138 and table 12. Layer AAE is overlaid by layers LM and JN. Layer JN contained a quantity of foundry waste, including a fragment of a drag with an impression of a brooch pin catch D 9289, and two fragments D 9288 and D 9289 with impressions of Berdal brooches of type 2. These two decorated fragments both come from square AF, where Layer LM is embedded between layer JN and layer AAE. I believe therefore that the artefacts from layers JN and LM pertain to a new activity area, overlying layer AAE. Concentration 9 belongs to phase 4. Finally, foundry waste has been found at the east end of Kunstmuseets Have in square AJ. It comprises D 12399 from layers AEF/ AEG/

AEF, D 12673 from layer ABF, and D 11 744, D 117 45 and D 117 46 from square AJ, collection 4, which lies between level 0.32 and level 0.42. Layer AAE is situated within this interval. The find circumstances do not indicate whether there has also been a bronze foundry in square AJ. Table 12 Concentration 9 SQUARE

Grammes per square CRUCIBLES

TUYERES

BRONZE

8 8

AF

14

AG

33

8

47

8

Total wt Grand total wt

MOULDS

186 59

245

308

89

Summary The general impression obtained by exa~ining the weight distribution of foundry waste m relation to squares and layers is that it is not evenly spread, but clearly concentrated in particular squares, where it can be related to discrete layers. This phenomenon is most marked at the eastern end of Kunstmuseets Have, which is an area with many activity horizons. There seems to be no reason to doubt that concentrations 7 and 8, at least, represent separate metal foundries. They both contain fragments of crucibles, moulds, tuyeres and forge-pit slag, which must be the bulk of what is left when a foundry is relinquished. Concentrations 6 and 9, although not so prolific, seem to indicate foundrywork. As the whole of Kunstmuseets Have exhibits a multitude of different craft activities, one may consider the concentrations which can be referred to discrete layers as remains of work-

90

shops where foundrywork was carried on. These workshops have probably not been very large and the craft must have been carried on in the open. The same must apply to concentration 1 in Kunstmuseets Kcelder. It is more difficult to apply this interpretation to concentrations 2, 3 and 4 in Dommerhaven. Here, the concentration areas can be referred only to thick strata comprising several thin layers. The foundry waste can naturally be interpreted as reflecting three workshops, but as the layers here were very thin, and as the area according to the excavators was characterized by refuse, it may equally well be considered refuse brought from somewhere else. The finds from square AJ and the western end of Kunstmuseets Have are very sparse. As they can be referred to particular layers only with reservation, it is not possible to decide whether they represent foundry activity on the spot.

Interpretation Based on the material presented here, 1 will attempt to give a reconstruction of metal founding in the Viking Age.

Production Production of the cast jewelry comprises the following processes, reconstructed in fig. 139: 1. Manufacture of models. 2. Manufacture of moulds. 3. Melting and pouring of metal. 4. Aftertreatment of the casting. 1. Manufacture of models

Foundrywork requires a pattern or model with the appearance desired in the finished product. For simple objects like pins and keys, models of wood or bone may be employed. Wood structure seems to be present in the cavity walls of some of the key mould fragments, but this could also derive from a wax model cast in a two-piece wooden mould. None of these models is undercut, and they can be removed from the mould without damage. To facilitate removal, and allow air to enter the cavity under the model and thus prevent the formation of a vacuum, the model has been given slip, i.e. as it is removed, it moves away slightly from the mould cavity wall. This is very marked in pin and key moulds, in which both cope and drag have this feature. This is also the case in the equal-armed brooch moulds D 1044 7 and D 13148, and in the horse brooch and unidentified ornament mould D 10448. In all these, the models could be removed without breaking the mould and without damage to themselves. This does not apply when the model is undercut, in which case it cannot be removed mech-

anically without damage to itself or the mould. If only a single object is involved, the problem is relatively simple to solve, by employing wax or some other easily melted or volatile medium. In this material the desired form is cut or modelled, loam is packed around it, and on heating, the medium melts and can be poured from the mould, leaving the desired mould cavity. This cire perdu.e or lost wax method is simple and has been known since the Bronze Age, but it is not suitable for mass production, both model and mould being lost. But it is just this stamp of mass or serial production which characterizes the finds from Ribe. This is easy enough to understand with keys and pins, because the models can easily be removed and utilized again, but for models with undercutting, such as the Berdal brooches, it requires that either the model or the mould be flexible, so they can be stripped apart. I will here offer a suggestion as to how the tortoise brooches could be serially or massproduced. First of all, the model has to be made. This can be an innovation or be inspired or influenced by existing objects. 1 imagine a model for a tortoise brooch being made of a solid lump of wax, which is easy to form and cut. This 1 will designate the primary model. Over the top of this primary model, a layer of dimensionally stable loam is pressed. We now have a model and mould which cannot be separated without damage. But by heating the wax

91

q

Fig. 139 Reconstruction of the bronze casting process.

(beeswax, for example, melts at 60-66°C), the primary model is removed and ·lost, leaving an exact impression in the loam. This mould I call the tool. T he basis for mass production is now present, always assuming that new models can be separated from the tool without damage to either. As the tool is rigid, the secondary models must be made of a flexible material. Experiments have shown that this can be achieved in the following manner. T he tool is filled with molten wax, which after a moment is decanted, leaving a thin coating of solidified wax on the inside of the tool. This layer may be augmented by successive pourings, which must, however, not stand long enough for the previous layer to melt. To reinforce the thin layer of wax, a piece of cloth is pressed into the last application while it is still soft. When this layer solidifies, the shell of wax may be stripped from the tool by slowly pulling the

92

cloth. In this manner one secondary model after another may be produced until the tool is worn out - mass production. An ingate model is next fused onto every secondary model. This is probably of wax, too, and consists of a conical casting funnel and conical sprue. 2. Manufacture of moulds

Fig. 140 illustrates the mass- and serial production of Berdal brooches. Over each secondary model with ingate, a mould cope of micaceous clay tempered with fine sand, chamotte and fine organic material is made. T he chamotte comes from old moulds. Some of the chamotte grains are black and some yellow, depending on whether they come from the inside or the outside of the used mould. The chamotte and organic material are added to impart dimensional stability to the mould, so that

it does not shrink as it dries. The organic material may also have been added to produce a re-ducing atmosphere in the mould cavity. This prevents the sand of the mould from fusing onto the surface of the casting. The mould loam is applied in thin layers, the innermost often being no thicker than about 0.2-0.4 cm. In the case of the tortoise brooches, three layers are applied, to a total thickness of 1.5 cm. When the loam is dry, the edges are trimmed and keyholes are cut in the parting face, as a rule one on either side of the ingate and 3-4 around the mould cavity. A 1.5-2.0 cm thick layer of loam is now pressed onto the underside of the model and cope. It is pressed well into the keyholes, thus forming the keys. The upper surface of the drag receives the impression of the model's cloth reinforcement. When the drag is dry, the two parts of the mould can be separated. The model is stripped away carefully and can, if undamaged, be used again for the production of the other brooch of the pair. In the drag, two notches are cut for the pin gudgeon and one for the catch, in addition to a c. 0.5 cm wide groove around the ovate hump, at the parting face. Now the two parts of the mould are joined again, the keying ensuring a good fit. An extra coating of loam is applied around the join, well down over both parts. The air in the mould cavity can escape through the parting face. Before casting, the mould is heated to remove water and becomes yellow-brown or redbrown, depending on the iron content. The temperature is not high enough to char the organic material, which would occur at about 275°C. The black layer seen in the used moulds is due to charring at the higher temperature of the molten metal.

tion of brooches which was practised in Ribe. All the tortoise brooches, at least each pair, strive towards uniqueness. They have the same main composition within the different types, but they do not have the uniform appearance of the mass-produced article. There is varied treatment of different decorative elements, especially of mouldings, frames and borders. One pair of brooches may exhibit quite plain mouldings and frames, another plain mouldings and corded frames, a third corded mouldings and frames, and so on. The same variation can be practised in brooches with applied chairs or plastic animals above the circular or pyriform figures. The alterations are made on the secondary models before the moulding loam is applied.

3. Melting and pouring metal

Variants

For melting metal, small crucibles of sand held together by clay are used. They are filled with small offcuts of forged bars and wire and placed in a heap of charcoal in a small depression in the ground. At the edge of the fire is a tuyere of clay, the purpose of which is to direct the air from the bellows onto the coals and prevent embers from being sucked in when the bellows are filled with air. The forge draws air from the sides and not from below, and the crucibles are therefore unevenly heated. This probably explains why they

When the immediate possibilities have been exhausted, a variant can be produced by, for example, adding an extra border to a secondary model. From this a new tool is made, in which new models can be cast. Now, further changes corresponding to those described above may be carried out, incorporating the new border, too. Variants a and b of type 1 are examples of this.

crack so easily. They are removed from the fire with a pair of tongs which grip the lug or, if this is absent, the entire crucible. Visible slag floating on the surface of the melt is removed and the melt poured into the obliquely placed mould. To avoid too fast a flow, the crucible is held to the very edge of the ingate funnel. When the metal has solidified, the mould is broken and the object removed. 4. Aftertreatment of the casting

On the cast ornament is the feeder head, which is a cast of the ingate model, and a number of burrs. They are sawn off and the edges cleaned up with a file. Then holes are drilled in the two projections form ing the pin gudgeon and the pin catch is bent into shape. An iron pin is inserted into the gudgeon and the brooch is finished. (Such iron pins were found in Kunstmuseets Have. They will be treated with other objects in a later publication). Serial production

It was, however, not stereotyped mass produc-

New types

The bronze founder can in the same way also produce new types by altering the main corn-

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4

5

2

3

7

Fig. 140 Mass- and serial production of Berdal brooches. 1: Primary model of wax. 2: Loam mould or tool. J: Secondary model of cloth-reinforced wax, with applied ingate model.

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4: Loam cope. 5: Loam drag. 6: Cope and drag assembled. 7: Berdal brooch of bronze.

p

position. For example types 1 and 2 are very similar. They have the same construction, with a median band, circular and pyriform figures on the long sides and similar gripping beasts between these. But while type 1 has a broad median band with three animals, type 2 has a narrower median band with only one animal in the middle. Type 2 also has square studs in the circular and pyriform figures, which are not present in type 1 (but they may well be riveted onto cast brooches of type 1: the Fourbcek brooch has rivet holes in the circular and pyriform figures). Type 2 may perfectly well have had a type 1 brooch as prototype. By modifying the abovementioned elements, the founder has created a new type, differing fundamentally from the foregoing. Over this new pattern, a new tool has been made for producing a series of new models, whose mouldings, frames and borders he could again modify.

In this manner some, but of course far from all, new types have arisen. The bronze caster has had various possibilities for extending his repertoire. He could freely create a new type out of his own imagination. He could cut a new model under the inspiration of a piece lying in front of him . He could make a copy of it and modify some of the elements, as described above. He could merely "borrow" a few elements, applying them to his own original. If he did not have the type in his repertoire, he could incorporate it in his set by making a new tool for producing his own secondary models. Minor changes

Finally, it is common to see small differences in ornamental detail from brooch to brooch, where the founder has improved a motif during the work on the secondary pattern and cast piece.

Workshops Unambiguous post holes or other features which could demonstrate the presence of houses in the concentrations were not found. Metal casting must have taken place in the open (possibly behind a windbreak) and has not required more than a few square metres of space. Neither is the amount of extant foundry waste overwhelming. Naturally, we have to take into account that some material has been thrown out, some utilized again in the form of chamotte, and some removed by recent digging.

But even around the large workshops like concentrations 1, 7 and 8, we are left with only relatively modest amounts of material which in no way suggest permanent foundries in use over a long period. It should be remarked, however, that we know nothing of permanent workshops from the period in question. Most of all, the traces suggest a craft activity of brief duration, for instance in connection with a fair. The founders have confined themselves to their own craft and also seem to have been rather specialized in their range. ·

The geographical distribution of cast Berdal brooches From the distribution maps it is apparent that all types of Berdal brooches have had a maritime distribution, but concentrated in special areas (fig. 14 1): one along the west coast of Jutland, another around Arhus, one in Vestfold, one near Stavanger and one near Sognefjord on the Norwegian west coast, and one in Birka in Sweden. It is possible that this distribution pattern reflects a trading centre or fair venue within each area. A corresponding phenomenon, but different pattern, is found in the distribution of Jan

Petersen type 15, the brooch which gave the Berdal brooches their name. This type groups around Hedeby, Vejle in Denmark, Birka in Sweden and Sognefjord in Norway. According toP. Paulsen (32), a mould for this type has been found in Hedeby. It is an obvious possibility that this pattern reflects itinerant craftsmen, travelling from fair to fair, where they manufactured and sold their luxury products. Another possibility is that the founder was resident in Ribe and in connection with fairs

95

Type 1

.

. . . . .

2 3 4

5 &

7

• A •0

...• 0

/

0

Fig. 141 Geographical distribution of Berdal brooches.

96

kma

held there cast ornaments which he sold to itinerant tradesmen, for sale at other markets. Finally, it is possible that one or more founders operated within each of the marked local areas, producing more or less the same types of brooches.

A combination of the$e three pcmibilitieJ a n by no means be ruled out, just as customer diffusion may have blurred the ptcture. The difference in distribution of the Ribe types and ofJP 15 (from Hedeby) is so relauvely clear, however, that it gives food for thought.

97

Conclusion Den antikvariske Samling's excavations in Ribe, north of the river, yielded a copious and very varied material illustrating metal casting technique in the Viking Age. With respect to artefacts, the Danish material known hitherto was greatly multiplied. Although highly fragmentary, in its entirety it gives a good picture of the working processes employed. The metal founders worked in the open, casting bronze, brass and silver. Their moulds imply great empirical knowledge of how a mould should be constructed to obtain the best results: the founders were specialists in their trade. They employed a kind of precision casting in which they produced patterns from tools. It was not a case of mass production, but of a serial production in which the main composition was retained, but each article or pair of articles given an individual appearance. There are moulds for keys, pins, equal-armed brooches, tortoise brooches and other artefact types. Predominant were moulds for Berdal brooches. All Jan Petersen's types are represented, but they are here classified in another manner. The Berdal brooches are concentrated around putative trading centres or fair venues. The geographical distribution may reflect itinerant craftsmen, but may also be due to itinerant merchants or local craftsmen who have borrowed designs from others, or a combination of all three. Most of the mould fragments bear impressions of objects which can be dated to the early Viking period, while a smaller number are as-

98

signed to the late Germanic Iron Age, phase 3. But this chronological difference between the two groups is in no way apparent in the spatial distribution. Mould fragments with impressions of objects from the late Germanic Iron Age were found in concentrations containing moulds for objects from the early Viking period. The workshops have, then, cast objects in the style of both periods. These workshops are found in phases 2, 3 and 4. Phase 3 of the late Germanic Iron Age starts around 725 and closes around or shortly after 800. It is succeeded by the early Viking period, the beginning of which in the North is traditionally placed in 800 (47). The period lasts until after the mid-9th century. In accordance with the traditional dating, the above-mentioned workshops must be dated to the first half of the 9th century. This dating conflicts, however, with the absolute dating offered by K. Bendixen in volume I of this series (8). On the basis of 30 sceattas, corresponding precisely to the coin content of Frisian and Frankish hoards, which can be dated to c. 720750, K. Bendixen believes that Ribe phase 2 must be dated to 725-750, but she raises the question of whether the sceatta type Wodan/ monster, which has also been found in phases 3 and 4, circulated after c. 750. Finally, it is remarkable that the first large Danish find of crucibles and moulds, like the German, English, Norwegian and Swedish, should come from a trading centre or fair site.

•

oansk Resume Metalstebning Teknikker, produktion og vmrksteder 1 Danmark findes der et meget stort antal smykker fra Vikingetiden. De er ofte elegant udf0rte og viser en h0j kunstnerisk standard. De er fremstillet i guld, selv, bronze og bly, og den tekniske udf0relse r0ber, at hcindvrerkerne srerdeles dygtigt har behersket bcide st0be- og driveteknik. Desvrerre er der kun fci fund, som kan fortrelle os om hvordan de har arbejdet. lsrer mlr det drejer sig om metalst0bning. Dette forhold har vi nu fciet en mulighed for at rette op pci ved hjrelp af fundene fra Den Antikvariske Samlings gravninger nord for Ribe A i 1970-76. De nrermere forhold omkring udgravningerne er fremlagt af overinspekt0r Mogens Bencard i den danske oversigt i I. bind af denne serie. Bearbejdning

Alle fundene blev indsamlet felt og lagvis, og hver indsamling blev vasket inden den gik videre til konservering og registrering. I dette katalog er genstandene opfert i emnegrupper, ferst digler, derefter essesten, esseslagger, rcimetal og stebeforme, og indenfor hver gruppe fortl0bende i nummerorden, idet Den Antikvariske Samlings nummererings- system er bibeholdt. Alle stykkerne er mcilt og vejet og ledsaget af en kort beskrivelse af hvad der umiddelbart kunne iagttages med det ubevrebnede eje. Nresten alle stebeforms- fragmenter med aftryk er blevet tegnet. Fragmenterne fra udgravningerne i 1973 og 1974, som h0rer til forme, hvori der har vreret st0bt ukomplicerede genstande, som de ses. Hvorimod de komplicerede aftryk fra stebeformsfragmenterne fra udgravningen i I 975 er tegnet ud fra siliconegummiafst0bninger. I teksten er hver emnegruppe beskrevet sam-

men med forel iggende analyseresultater. Fundene fremlregges ud fra et teknologisk synspunkt. Digler

Der blev fundet 225 fragmenter af digler. De er ofte meget smci og kun i enkelte tilfrelde er det lykkedes at samle en hel eller nresten hel digel. Alle diglerne er af sand, som er blevet sammenkittet af ler, der ikke lrengere er tilstede i mcilelige mrengder. Pc\ grundlag af morfologiske trrek kan diglerne deles op i 7 typer. De samme typer kendes fra andre fundlokaliteter i Nordeuropa. De dateres til yngre jernalder, fortrinsvis til vikingetiden og perioden lige forud. Semi-kvantitative analyser viser, at der er hievet smeltet s0lv, bronze, messing og bly. Det har ikke vreret muligt at henf0re d igeltyperne t il st0bning af bestemte legeringer. Det har heller ikke vreret muligt at foretage en sikker kronologisk opdeling. Essesten

En essesten er en genstand med et konisk hul igennem; den har tit forme\! at lede luften fra blresebrelgen mod essens gl0der, at beskytte blresebrelgspiben imod ilden og at forhindre blresebrelgen i at suge gl0der med tilbage, ncir den fyldes med luft. Essestenen kan vrere rund, tragtformet, oval, D-formet eller firkantet og vrere la vet af jern, klebersten eller ler. Essestenene fra Ribe er af ler. Der kunne udskilles to typer, som kendes fra andre lokaliteter i Nordeuropa, hvor de dateres til jernalderen. Essegrubeslagger

Blandt det glasificerede slaggemateriale, er der

99

q nogle konkav-konvekse stagger af sammensmeltet sand og Ier. De formodes at komme fra en essegrube. Fundfordelingen knytter dem sammen med det 0vrige st0beaffald. Sintrede lerslagger

namenteret skalformet sprende fra yngre germanskjernalder. Pa grundlag af ornamentikken kan 4 andre fragmenter henf0res til samme riode. peDen overvejende del af aftrykkene er dog af sprender af Berdaltype, som kan deles op i 8 t _ per. y

lmellem digelfragmenterne og essestenfragmenterne 1:1 en del sintrede lerstykker, som ikke kan henf0res til en af ovenncevnte genstandsgrupper, og vis funktion er uvis. Fundomstrendighederne tyder p:i, at der m:i vrere en samh0righed med metalst0berens arbejde.

En anden stor gruppe af st0bte genstande er n0gler, der er udformet pA samme mAde som nyere tiders n0gler. Der kan udskilles 5 typer.

Riemner og affald af bronze

Nale

Negler

Set i forhold til de mange fragmenter af digler, essesten og st0beforme, er det forbl0ffende lidt, der foreligger af r:iemner og affaldsprodukter af bronze. Af r:iemner optrreder der kun en lille barre med D-formet tvcersnit og to fladthamrede bronzer samt 5 ikke srerligt lange bronzetr:ide. Af st0beaffald er der nogle smeltede bronzeklumper samt en st0beknold fra en form, som har st