Glass Beads from Early Medieval Ireland

Classification, dating, social performance

Mags Mannion

• Publisher: Archaeopress
• Year: 2015
• Print ISBN: 9781784911966
• eBook ISBN: 9781784911973
• Topic: Social Sciences
• Subtopic: Archaeology
• Index: Social Sciences

This is the first dedicated and comprehensive study of glass beads from Early Medieval Ireland, presenting the first national classification, typology, dating, symbology and social performance of glass beads. Glass beads are one of the most visually stunning archaeological objects and they remain as popular a part of body ornament today as in the past. This continuing fascination is explained somewhat by the versatility of glass which can be rendered opaque or transparent and produced in a variety of colours. Glass has an almost mesmerising effect in its ability to reflect light, presenting not just a surface but also dimensional depths of shade and light. In this respect the crafting of glass beads as representations of the human eye may go some way towards explaining their enduring and universal popularity. Glass beads however are much more than this and their enduring appeal is also a reflection of their aesthetic and symbolic qualities. This book explores not only the importance of beads as a tool of archaeological research but also the relevance of beads in the social arena and their significance as markers of cultural and religious identity and symbols of status and age both in Ireland and further afield.

Table of contents

• Cover
• Title page
• Copyright page
• Abstract
• Acknowledgments
• Author’s note
• Table of Contents
• List of Figures
• Chapter 1: Introduction
• Figure 1: A typical single find
• Figure 2: The number of coeval beads available from a single string or necklace from just one burial (from Brugmann 2004, fig. 76 beads from Grave 72 Linton Heath Cambridgeshire). 1
• Figure 3: The widely recognised religious affiliation associated with rosary beads means the viewer is easily able to place it within a context.
• Chapter 2: The History of Glass Bead Studies
• Figure 4: Watercolours of the beads (from Knowles 1879-81, plate 2).
• Figure 5: A typical class 9 bead (from.http://www.kaupang 2001/fig 4.7)
• Figure 6: Rods of glass used in glass working were among the many finds from San Vincenzo (from Hodges 2009, no. SV5-01)
• Figure 7: A rod of glass used in glass working found during excavations on Iona (Barber 1981, Plate 24)
• Figure 8: The class 10A bead (10A.1) from Deer Park Farms
• Figure 9: The similarity in the composition and colours used in this glass rod from Ballydoo and the bead from Deer Park Farms illustrated in Figure 8 is very striking
• Chapter 3: Aims and Methodology
• Table 1: Location of sites and number of bead from each site
• Figure 10: The form and features are more visible on a Class 3 bead of a lighter shade of glass.
• Figure 11: The features are not as clear on a class 3 bead of a dark shade of glass.
• Figure 12: Glass beads and rods made by the writer.
• Figure 13: The artisan has created a very individual and visually striking bead through the skilful use of opaque and translucent glass in contrasting colours.
• Chapter 4: The Classification
• Figure 14: A typical class 1 bead (cat. no. 1.3)
• Figure 15: The paste between the groves is clearly visible on this specimen (cat. no. 2.1)
• Figure 16: Bead (cat. no. 2A.2), showing the single twist composition
• Figure 17: An example in pale opaque blue glass (cat .no. 3.3)
• Figure 18: A class 3 bead (cat. no. 3.2), composed of translucent glass
• Figure 19: A typical class 4 bead (cat. no. 4.2), showing the marvered interlace decoration
• Figure 20: (cat. no. 5.1), The combination of motifs which could be used to embellish the beads
• Figure 21: A specimen with monochrome collars and raised dots (cat. no. 5.6)
• Figure 22: A specimen (cat. no. 5.8), with raised dots and collars of twisted glass (after Lynn and McDowell, 2011 Pl. 18.2).
• Figure 23: The bead from Carrigatogher in Co Clare
• Figure 24: Close up of the depression in which a decorative motif would be placed
• Figure 25: This specimen also has monochrome collars (cat. no. 5.3)
• Figure 26: This specimen (cat. no. 6.4), has a dark glass core
• Figure 27: The bead from Lagore (cat. no. 6.1)
• Figure 28: The bead from Newtownbalregan found in association with objects of sixth to seventh century date (Roycroft 2010, 22).
• Figure 29: Class 7 bead from Garryduff (cat. no. 7.3)
• Figure 30: A typical Class 8 bead (cat. no. 8.1)
• Figure 31: The core of this bead has a blue tinge (cat. no. 9.1)
• Figure 32 In this example the glass is of a caramel shade and the collars are intact (cat. no. 9.4).tif
• Figure 33 An example in yellow and green glass (cat. no. 10.21).tif
• Figure 34 Some examples display less skill in the execution of the decoration (cat. no. 10.11).tif
• Figure 35: This bead displays a more complex design (cat. no.10.1)
• Figure 36: An example of the type in a lighter colour class (cat. no. 10.10)
• Figure 37: (cat. no. 10A 2), displays the dimensional depth created by the use of rods of twisted glass similar to those found at Ballydoo
• Figure 38: This example is embellished with a twisted cable (cat. no.11.4)
• Figure 39: An example of the type in clear translucent glass (cat. no. 12.1)
• Figure 40: The class 13 bead from Lagore (cat. no. 13.1)
• Figure 41: Lagore bead (cat. no. 14.1)
• Figure 42: This bead displays a more haphazard composition (cat. no. 14.2)
• Figure 43: A typical example of a class 15 bead composed of opaque glass of a white shade
• Figure 44: A typical class 15 bead of semi-translucent dark blue glass
• Figure 45: The bead while of small dimension displays the same workmanship seen on the larger globular beads (cat. no. 15A .2)⤀
• Figure 46: A class 16 bead showing the proportional perforation and the smooth and rounded edges typical of this class
• Figure 47: A typical class 17 bead
• Figure 48: A typical spherical bead
• Table 2: Classification Table
• Figure 49: While the body of the beads can be composed in a variety of colours they all display similar randomly placed and sized inserts in a range of colours as seen on this specimen (cat. no. Gui S8xii. 1)
• Figure 50: The jagged perforation edge at the lower end may indicate that the beads may originally have had more than two segments (cat. no. Bru. CS.2)
• Figure 51: (cat. no. Bru. CS.1)
• Figure 52: (cat. no. Gui. M. 1)
• Figure 53: This bead displays the very distinctive decoration that characterises this type (cat. no. Gui. S2v. (a))
• Figure 54: (cat. no. Koch. 20Y.1), (after Hughes 1980)
• Figure 55: (cat. no. Koch 49/50.1), (after Hughes 1980)
• Figure 56: (cat. no. Gui. S5iia.1)
• Figure 57: (cat. no. And. 0772.1)
• Figure 58: (cat. no. Sieg 35.20/35.24 .2)
• Figure 59: (cat. no. Sieg. 35.20/35.24.1)
• Figure 60: (cat. no. Fra. Type .1 and Fra. Type.2)
• Figure 78: The possible composition of necklace (after Lynn and McDowell 2011, Pl. 18.1).
• Figure 79: A typical class 16 bead of blue glass embellishes a bronze pin.
• Figure 80: Close up of the head of the glass toped pin from Drummiller Rocks, Dromore.
• Table 3: Imported beads
• Chapter 5: Context and Dating of the Classes
• Figure 61: Reconstruction of a house from the evidence from Deer Park Farms (from Lynn and McDowell 2011, pl. 33.9)
• Table 4: Deer Park Farms Phasing (after Lynn and McDowell, 2000, 10-12)
• Figure 62: Plan and section of mound (from Lynn and McDowell 2011, fig. 1.4)
• Table 5: Number of beads of each Class from Deer Park Farms
• Figure 63: Excavation grid showing the river with the dams on either end (from Hencken 1950)
• Figure 64: Excavation grid (from Hencken 1950).
• Table 6: The range of artefacts from Period Ia, (after Lynn 1985/6)
• Table 7: The division of the finds to phases (after Hencken 1950, 55-58)
• Table 8: List of stratified deposits at Lagore (from Hencken 1950, 47-51).
• Figure 65: The location of the three palisades (from Hencken 1950)
• Table 9: Number of beads of each Class from Lagore
• Figure 66: Position of the new graveyard at Clonmacnoise
• Table 10: Number of imported beads of known type from Lagore
• Table 11: Number of beads of each Class from Clonmacnoise
• Figure 67: Plan of Caherlehillian (from Sheehan 2009 figure 102)
• Table 12: Number of beads of each Class from Caherlehillian
• Figure 68: Garranes plan drawing (from Ó‘Ríordáin 1962, Plate XII)
• Table 13: Number of beads of each Class from Garranes
• Table 14: Number of imported beads of known types from Garranes
• Figure 69: Excavation plan of Garryduff 1 (from O’Kelly 1962, Plate III)
• Table 15: Number of beads of each Class from Garryduff 1
• Table 16: Number of imported beads of known type from Garryduff 1
• Figure 70: Plan of Ballinderry Crannóg No.2, showing the position of the well (from Hencken 1942)
• Figure 71: Excavation site grid of Ballinderry Crannóg No. 2 showing that the grid extended beyond the palisade with the outer sub-sections left as it were un-ended, however in practice the sub-sections are de-limited by the palisade (from Newman 2002, i
• Table 17: The sequence of artefacts from context Section 1.2 ‘near the palisade below the scraw’
• Table 18: The high concentration of finds from Section 1V ‘outside the palisade in the south-east south area’ which may indica e a specific locus of activity in this area and point to the pre-crannóg horizon.
• Table 19: Number of beads of each Class from Ballinderry 2
• Table 20: Number of imported beads of known type from Ballinderry 2
• Figure 72: The bead (cat. no. 10A.2), displays similar decoration to the rod from Ballydoo seen in Figure 73
• Figure 73: Compare the composition of the rod to that of the bead from Deer Park Farms above (cat. no. 10A. 2)
• Figure 74: Plan and section drawings of Ballydoo (from Conway 2005, figure 16)
• Table 21: Number of beads of each Class from Ballydoo
• Table 22: Classification table with date ranges
• Chapter 6: Beads and Society
• Figure 75 The blue glass eyes of the San Vincenzo tonsured man (from Hodges 2009, no. SV5-03-SF0999) .tif
• Figure76: Beads suspended from the arms and base of the pectoral cross (after Walton Rodgers 2007, 103).
• Figure 77: Rubbing showing jewels or beads suspended from the base of the cross (after Walsh 2003, figure 2.11).
• Chapter 7: Closing Remarks
• Figure 81: This ornament made of glass and stone conveys the eye in a very realistic manner (Courtesy of the Egyptian Museum, Cairo).
• Figure 82: Profile of a Pharaoh in glass (Courtesy of Egyptian Museum, Cairo)
• Catalogue
• Bibliography