Fibulae and Migration Period Art Module 8 done

Fibulae are brooches popularized by Roman soldiers to hold cloaks or capes in place.
Bow fibulae consist of a body, a pin, and a catch, similar to safety pins.
Herbert Kuhn called the bow fibula an early medieval artifact par excellence.
Thousands of bow fibulae exist in European museum collections, with even more from archaeological excavations.
Ornate fibulae became popular in the early Middle Ages (c. 500-800) and are commonly found in barbarian grave sites.
"Barbarian" comes from the Greek word barbaros, meaning "foreign," and is used for non-Roman groups who migrated into western Europe (e.g., Ostrogoths, Visigoths, Franks, Lombards).
This period saw Europe becoming Christianized and the Roman Empire splitting.
The Roman Empire ceased to exist in the west but continued in the east as the Byzantine Empire, with its capital at Constantinople (modern-day Istanbul).
The Migration Period is another name for this era.
Sparse written documentation exists, making grave goods like fibulae important sources of cultural information.

A gold fibula made in Rome or Constantinople in the 5th century is called a crossbow fibula due to its resemblance to the weapon.
Unscrewing the left knob releases the pin.
The fibula features detailed incising called pierced openwork.
A cross is visible at the top, with floral scrolls emerging from acanthus leaves, symbolizing paradise and salvation.
The circular form around the cross is a victory wreath, symbolizing victory over death (resurrection).
One art historian described the brooch as evoking the transition from Late Roman to Early Byzantine art.

The Lombardic fibula found in Kranj (modern-day Slovenia) is a stylized variation of the crossbow fibula.
It features a semi-circle with nine radiating rectangular incised forms topped with spheres, called "radiate-headed" or "digitated".
It is gilded and inlaid with niello, a black metal alloy.
The incisions are hatched lines, a popular decoration technique in Lombardic fibulae.
The Lombards (or Langobards) are thought to be of Germanic origin.
They established their kingdom in Italy in 558 and were defeated by Charlemagne in 774.
Over time, the Lombards assimilated into Roman culture, adopting Christianity and their administrative legal procedures.
One historian suggests that Slavic bow fibulae symbolized social status, gender, and power, reflecting the ability to establish long-distance relations and yield influence.

Merovingian fibulae are examples of cloisonné, a technique popular in barbarian art.
Cloisonné involves inlaid semi-precious stones.
The artisan would solder wires onto a metal base and fill the areas with polished stones.
Eagles, a symbol of the Roman empire, are a popular motif, representing status and power.
Eagle heads decorate the top end of the fibulae, with stylized eagle heads creating loops on the opposite end and sides.
Fish decorate the main body of the brooches.
Garnets were used for the eyes of the eagles, and various gems were used throughout the fibulae.
These objects demonstrate the skill of barbarian metal workers during the early Middle Ages.

A pair of Visigothic fibulae in the form of eagles exemplify barbarian metalwork and cloisonné.
They are decorated with garnets, amethyst, and colored glass.
These fibulae were found at a Visigothic grave site in Spain.
They likely fastened a cloak at the shoulders, with pendants hanging from loops at the bottom.

Anglo-Saxon art features intricate designs on brooches, buckles, and other decorative metalwork.
The objects invite careful contemplation to decode their designs.
Dense animal patterns have multi-layered symbolic meanings and tell stories.
Anglo-Saxons were able to 'read' the stories embedded in the decoration.

Anglo-Saxon art went through changes between the 5th and 11th centuries, but puzzles and storytelling remained central.
Style I, popular in the late 5th and 6th centuries, features a jumble of animal limbs and face masks.
Close scrutiny reveals details and meanings within the designs.
Silver-gilt square-headed brooches from the Isle of Wight exemplify Style I art.
The surface is covered with at least 24 different beasts, including birds' heads, human masks, animals, and hybrids.
Some images can be read in multiple ways, central to Style I art.
The lozenge-shaped field at the foot of the brooch contains a bearded face with a helmet underneath two birds, possibly representing the Germanic god Woden/Odin with his ravens.
Images of gods alongside powerful animals may have offered symbolic protection to the wearer, functioning as a talisman or amulet.