Vikings costume history. About the men's costume of the Viking Age. Thanks to the sea voyages of the Vikings, the Scandinavians became acquainted with luxurious foreign materials. Expensive fabrics were also imported from Russia
The second season of the series “Vikings” has been released, I would like to write kind words to costume designer Joan Bergin. She already has three Emmys for her previous achievements. The series about the Tudors (2008-2011) directed by Michael Hirst was remembered not only for the plot, but also for Joan’s costumes. "Vikings" is Hirst's next project, dedicated to history(saga) about Ragnar Lothbrok, a passionary, as Gumilev would say, preoccupied with the conquest of new lands. In the future, Ragnar should fly into Rus'.
There are quite a few “Vikings” among the reenactors; they will soon arrive for our city day with another landing force. I think they view the series more strictly and criticize it for the caps with visors, known since the 15th century, and not since the time of Ragnar, since the 8th century.
Director Michael Hirst had his own task, he wanted to show the Vikings not as bloodthirsty dirty barbarians, but as a completely democratic society in which women could rule and fight with men on an equal basis. The Vikings at one time controlled most of England and founded Dublin and York.
However, little is known about how the Vikings dressed. There are no paintings left, only meager historical records. Bergin was inspired in her homeland, Scandinavia, where there are Viking museums, and visited the Birk Museum in Stockholm and the museum in Borg, Norway. She came to the conclusion that the persistent cliché that Vikings were savages was not true. " They were pagans, their religion is much older than Christianity. They worshiped many nature gods and, like the American Indians, they wore the skins and skins of many animals. But their clothing had so many details and decorations that one could say there was a certain "fashion".
It turns out that Viking men were quite clean. "Irish women loved Vikings because they were so pure," explains Hirst. “They always took a change of clothes with them on raids and they took great care of their hair, combs were constantly found in Viking graves.”
Their jewelry and the designs also penetrated the lands in which they settled after the conquest, such as Ireland, Scotland and England. Celtic design comes from the Vikings.
The artist was faced with the task of dressing both the main characters and the entire crowd of one and a half thousand people.
Although Ragnar Lothbrok becomes the leader, his power is not as marked by costume as that of the influential Anglo-Saxon people. In the second season, only the image of the raven indicates its difference from the others. The raven is a symbol of the god Odin, and Ragnar, according to legend, descends from Odin himself.
The artist says she likes that the hero still wears “T-shirts, leather jackets and torn jeans, in modern terms.” He really does sometimes resemble a rocker, a cool kid. Looking at Ragnar’s costumes, you think that some things are still popular in clothing and symbolize a brutal man, always ready to fight for his beliefs.
Ragnar's first wife, the female warrior Lagartha, is dressed appropriately for a wife who fights next to her husband.
In the second season, Ragnar takes a second wife, Princess Eslog, who seduces the proud warrior. Eslog is completely different, she has rich dresses and furs, emphasizing her high position. She comes from a rich family and shows her wealth. The choice of the actress, however, is a little doubtful; she really has a touch of glamor on her.
Ragnar now has two wives, each with their own character. But Lagartha is not happy with this arrangement.
In the second season, Joan Bergin had new tasks: to make costumes for the Anglo-Saxons and their kings.
Clothing in those distant times was quite primitive in cut, the artist still makes it close to modern, because she wants the viewer to enjoy looking at the characters, so that the figures are visible, otherwise they would all have to wear something like “robes” ". It was difficult to be sexy in those days when clothes were shapeless, no miniskirts, no vandebra bras.
Although Alessa Sutherland is quite sexy as the temptress Eslog, she wears a fishnet decorated with shells.
The series will feature two spectacular wedding scenes: Viking weddings - pagan, with flowers, a little hippie in style, and Anglo-Saxon, rich and Christian. The dress for the wedding ceremony is decorated with gold coins and looks very impressive, but the Viking bride’s dress was also created using a complex technique, wool silk was embroidered by hand.
The purpose of this article is to clarify some important aspects of the reconstruction of women's Scandinavian Viking Age costume. In addition, new data and research are presented to more accurately depict women's clothing. The confusion began with archaeological research at Birka, where about 1,100 burials were examined between 1873 and 1895 by Hjalmar Stolpe.
It was assumed that these burials contained "typical Vikings", but research has shown that these burials are either burials of the nobility, or that the deceased were buried in the clothing of noble people.
In addition, according to modern views, the culture of the Viking Age was influenced by the cultures of the Slavs, Wends and Rus. Of course, the influence was two-way, but the extent of this influence is unknown with certainty.
At the early stage of archaeological research (in the 19th century), researchers were more interested in “striking” finds: swords, brooches, etc., while “ordinary” finds, such as textile remains, often remained out of sight. Findings of clothing fragments therefore either simply disappeared or ended up in museum collections for a long time.
Agnes Geijer was the first to show academic interest in the Birka textile finds. By the time her research began, all hope of accurately reconstructing the clothing had already disappeared. At the same time, layers of fabric were preserved on tortoiseshell and other brooches, so it was known how many layers of clothing were worn, but no idea what the individual costume looked like. As a result, her work was published only in 1938.
Geyer reconstructed the undershirt, over which was worn a “pinafore arrangement” with straps that were fastened with tortoiseshell brooches. It was assumed that this robe was open only on one side. However, in the photographs the outerwear has a slit on the other side! Many famous researchers, such as M. Hald in 1950 and Inga Hagg in 1974, continued Geyer's work, and their reconstructions of Scandinavian women's Viking Age costume went into print.
Two famous illustrators have perpetuated the myth of the double cut; Ake Gustavsson in The Viking (1966) and David Mallot in Vikings in England (1981). It is from this literature that the NFPS recommendations for Scandinavian women's Viking Age costume are based. However, Geyer's discoveries have now received a new assessment. Flemming Bau reexamined the problem of costume by comparing information about the layers of fabric with pictorial sources: metal Valkyrie pendants, playing pieces, images on rune stones and embroidery. Since these sources are supposed to show noble women, they are ideal interpretative evidence.
Fleming Bau further compares his own constructions with data from folk costume. To test for Slavic influence, she used materials from other Viking Age sites (in Norway, Sweden and Scotland). Its constructions do not cause contradictions. The following is a short summary of the materials, although at the same time it is worth considering that after a century of excavations at Birka, more than 90% of the materials on the tissue remains remain unpublished.
Clothes of the nobility.
Underdress.
These rather simple garments remained without pleats in the 9th century, but were more often pleated in the 10th century. They reached ankle length and were fastened (in the 10th century) at the throat with an ordinary round fibula. Pleated fragments have also been found in Viking York.
Pleated underdresses were not much different from modern pleated hemlines, although the full cutting has not survived. It is assumed that this was a garment with pleats along the entire length of the body, to which pleated sleeves were sewn. These "folded shirts" were tied around the neck with a cord. It seems difficult to determine what role the fibula played in this method. If the fibula was not only a decoration, then it was probably used to fasten the outer garment or for earlier non-pleated underdresses. Many of these brooches have a ring on the back, and in some graves this ring is attached by a chain to a chain system of tortoiseshell brooches. If the outer dress is not worn, then such a fastening system is extremely inconvenient. It is more likely that such brooches fastened outer clothing. Pleated sleeves are reconstructed as having longitudinal (as depicted by Judith Jesch, Gustavsson, Mallot, etc.) or transverse (Fleming Bau) folds. The latter are reminiscent of Saxon men's and women's clothing and a find from the Mammen burial with double cuffs. Inga Hegg showed, based on an analysis of corrosion on the backs of the brooches, that the folds ran horizontally, around the arms. Remains of the underwear were also discovered in Hedeby, a large Danish trading center. They were also pleated, or more simple version, with a hem widened by wedges. One of the finds was very long, lined with down and decorated with buttons from the ankle to the hem. Perhaps this is a local variant specific to Denmark.
Dress.
Based on Birka's materials, it was assumed that this clothing was knee-length and decorated with braid. It was also assumed that the outer dress was usually made of silk, and the cuffs of the sleeves were decorated with expensive embroidery. However, a clear picture is still missing. Not all women were buried in full costume, the fabric of different pieces of costume differs, and not all materials were preserved in different graves. In some cases, the dress (if worn) was made of diamond-weave wool OR silk. The same observation can be applied to aprons, although in some cases their straps were made of linen. The same uncertainty is observed in the length of the robe. With such a small amount of surviving materials, it is possible to determine the length of the clothing only from the surviving fragments of braid. At the same time, not every piece of clothing was decorated with braid, and those that survived suffered from decomposition. It is unknown what type of clothing was decorated with braid: a dress or a caftan or a cloak. Moreover, how many fragments of tape were discovered? In the drawings from 1100 burials, Birki Stolpe notes the position of only FIVE fragments out of 4000! There is clearly insufficient data to make informed conclusions about the length and number of garments found. Consequently, the dress can also be considered as a rather short garment with valuable embroidery on the sides, as well as the cuffs of the sleeves. Such a reconstruction leaves three questions open. Firstly, why is the dress so richly decorated (we are talking about silver embroidery and silk) if only aprons were worn over it? Why is the length of the dress so short when the rest of the clothing should be even shorter to show the value of the previous item? Secondly, why is embroidery placed on the sides of the dress when it is often found on the front? In male burials, where similar embroidery was found, it is located on the front of the clothing. On the left is a find from burial 735 at Birka (possibly female?), which has inspired many reconstructions, although it is no larger than a beer coaster! A rectangular fragment of embroidery was located on a piece of fabric, which, according to the researchers, was located in the area of the armpit cutout. But in the same way, this fragment of fabric could be located in the area of the neckline! Third question. Why place an embroidered fragment on a garment over which an apron, warm clothes and a cloak were worn? The surviving fragments could have stuck together under the influence of decomposition or could have been a feature of the funeral rite. It is likely that the embroidery could decorate a caftan similar to a man's, or be found in the burial in a combination that was never used in reality. Finds from Hedeby present another version of the dress. The Danish version is much longer than the Birka reconstruction: the length is almost the same as the length of the undershirt. This variant is much closer in length to later variants from Moselund (Denmark, ca. 1250) or Herjolfsnes (Greenland, ca. 1300).
Apron.
An apron (apron) was worn over the dress. By examining the number of loops that were fastened with tortoiseshell brooches, Fleming Bau identified at least four different complexes. When compared with the "Valkyrie figurines" the following was assumed. The apron was wrapped around the body, with the front part remaining open. Loops were sewn to the upper corners, to which tortoiseshell brooches were attached. Two additional loops were sewn from the back to the middle of the upper edge and, being thrown over the shoulders, were fastened to the front loops with brooches. In the second version, a long bib was added to the apron, which was fastened to the brooches. A beautiful illustration can be seen on the gold figurine for Hnefatafl from Tuze (Tuse, Denmark). The third option added to the previous one (apron and bib) long train at the back, which was also attached with loops to the tortoiseshell brooches. An illustration of this option can be found on a silver figurine of a Valkyrie from Tuna (Tuna, Sweden). The length of the breastplate could vary: on the figure from Tuze the breastplate reaches the ankle, while on the figures from Tuna and Grodinge (Grodinge, Sweden) - bottom left and right, respectively - the breastplate reaches only the knee.
The final option included an apron and pleated train, but no bib. Of course, there could be other options, but only those deserve attention that do not conflict with the Valkyrie figurines (in other words, no side cuts), as well as with the number of loops found on the tortoiseshell brooches. Options for the location of the loops could be as follows (from left to right): . One loop at the bottom, one loop at the top for the first option (apron only). . One loop on top and two loops on bottom for the second option (apron and bib). . Two loops at the top and two loops at the bottom for the third option (apron, bib and train). . Two loops on top and one loop on the bottom for the fourth option (apron and train). Aprons were made of wool or silk, sometimes trimmed with embroidery or a wool or silk border. Information about the material of the train is unknown, but since wool does not retain folds well, the most likely would be silk or linen.
Belts.
No belts were found in the women's burials of Birka, which can be considered as a feature of the burial of the nobility, since it was assumed that there would be maids and workers to perform various housework: a spacious apron and chains would only get in the way in this case. However, the absence of belts can be interpreted as characteristic feature funeral rite. Thus, men were buried with swords, which indicated that they were warriors and could enter Valhalla. In this case, the absence of belts in women's burials should have indicated that they were wealthy enough to have maids and workers to perform daily household needs.
Whether women actually wore the belt is open to speculation. A richly decorated leather belt was discovered in a female burial at Kildonan, Isle of Eigg, Scotland. However, research has shown that the item has a clear Welsh influence and was probably made by Welsh craftsmen. In practice, the tradition of wearing woven belts is probably worth continuing. Moreover, silver belt tips with silk remains were discovered in some Birka burials. They may have belonged to woven silk belts, and some may have been worn by women.
Outerwear
On top of some aprons, as the finds show, another piece of clothing was worn. It had sleeves, but, unlike the men's caftan, this robe did not fasten with buttons. A brooch was used as a clasp, either three-leafed or disc-shaped round. Outerwear was probably made of silk or woolen tweed.
Considering the presence of various types of decorations on objects women's suit, outerwear was more than likely decorated with embroidery or braid. It is quite possible that it was the outerwear that was interpreted as a dress. The center shows a variant of outerwear decorated with embroidery from burial 735 Birki.
Cape.
The completion of the costume complex was a cape, which is clearly visible on the Valkyrie figures. However, on the figurine from Kinsta (Sweden) - third from the left - the lower part of the cape is interpreted as a belt. Capes or bedspreads were made of wool or silk and were sometimes trimmed with fur. Capes were fastened near the neck with brooches various types. They must have been quite open at the front, since some Valkyrie figurines (Tuna, top first from left) and embroideries (Oseberg tapestry (Norway), fourth from left show breast brooches even with a cape on.
Hats.
Headdresses also introduce a significant amount of ambiguity and doubt into the reconstruction of Viking Age women's clothing. According to all the sagas married women walked with their heads covered. However, none of the figures wear a headdress. Perhaps head coverings were also a matter of Gaelic influence? A sufficient number of them have been found in Dublin, and an embroidered hood was found in Orkney. In addition, there are expensive silk examples of finds from York and Lincoln. However, the radiocarbon dating of the sample from Scotland dates back to the Bronze Age! The recording of the sagas dates back to the 13th century, when both Britain and Scandinavia had long been Christianized, therefore the head coverings may reflect later features borrowed from Christianity. At the same time, in some pagan burials traces of a headdress can be traced. On the tapestry from Ouseberg (8th century AD) the heads of women are covered, while in Christian burials no traces of headdresses were found (unmarried women?). One can only conclude that while Scandinavian women could choose whether or not to wear a head covering, married Christian women were required to cover their heads.
Decorations and jewelry.
Many female burials contain valuable jewelry and items that are needed by the deceased in the afterlife. Many of them are everyday items, others are one-time use items. The list is quite long, but usually includes: keys, a comb, a needle case with needles, a small knife and a whetstone. All these objects were hung from a belt (assuming its presence) or from chains or ribbons of brooches. Some items are positioned specifically: for example, a knife and a needle case are hung horizontally. Many of the items listed are richly decorated. The chains differ from modern ones: twisted links were often used. Just like personal items, small brooches of the lower dress were sometimes attached in chains to tortoiseshell brooches. The tortoiseshell brooches themselves were often connected in chains. This feature makes sense if there was no bib, since without it or the chains the apron turns out to be too fluttery. Sometimes, instead of chains, necklaces made of glass, amber or jet beads were worn. It should be noted that ALL amber and jet buins were polished or carved, in other words, the use of rough, unfinished pieces should be avoided.
Shoes.
Women wore ordinary leather shoes, found in various archaeological sites. Woolen socks are poorly preserved in burials, but were discovered during excavations in York. Crochet socks.
Children's clothing.
Children's costume was not a smaller version of their mothers' clothes. Thus, the children of the nobility in Finland also wore expensive clothes and jewelry, but there were no brooches or an apron. If a similar practice existed in Scandinavia, then it is unlikely that a girl or girl could wear an apron and tortoiseshell brooches. The costume reflected social status, wealth and marital status. A girl could be married off at the age of 12-13! The external attributes came partly from the dowry, and partly from the booty plundered by the husband.
Women's costume of the middle and lower classes
It is likely that the system of brooches and chains is characteristic only of the nobility. Women of lower social status wore correspondingly simpler costumes. They probably wore belts to protect their loose clothing from getting caught in the hearth fire. In addition, you can assume the presence of an apron (more like a modern one) for housework.
Of course, a noble woman in ceremonial clothes (i.e. with a system of brooches and chains) was unlikely to clean fish. Apparently the costume of lower status Scandinavian women was similar to that of the Anglo-Saxons, with the exception of the pleated sleeves. The issues of headdress and shoes have already been discussed earlier. A brief overview of costume items and their acceptable combinations.
UNDERSHIRT.
The shirt could be pleated with ties at the neck and sleeves OR a regular shirt fastened with a small fibula. Its length should be ankle-length. Material - canvas.
DRESS.
It can be decorated with embroidery or left without it. There could be a short or more long options. Material - wool or silk.
APRON and FIBULES.
A noble woman should wear an apron, at least in its simplest form. This set of clothing is fastened with large ornamented brooches. The most popular were tortoiseshell brooches, however, box-shaped and other types of brooches or long pins could be used. It should be noted that wearing a noble costume is NOT MANDATORY. The clothes of a middle class woman are no worse, but will cost MUCH less!!!
BELT.
If it is used at all in a suit, it should be a braid made of wool or silk.
OUTERWEAR.
If used, it must be made of wool or silk fabric. The decoration may be similar to the find from Birka (burial 735).
CAPE.
Every noble woman should have this essential part of her costume. It is a short cloak fastened with various brooches. Made from wool or silk, possibly lined with wool or fur and trimmed with fur.
HEADGEAR.
Silk was probably used most often for headdresses. Christian women were required to cover their heads, while pagan women could choose to wear or not wear a head covering.
DECORATIONS.
Decoration was a characteristic social status. String of glass or amber beads should be worn in addition to the brooches mentioned earlier. Some items are required, such as a set of keys and a small knife. They, like other things, were attached with ribbons or chains to one of the brooches of the apron.
SHOES.
The shoes used were typical for the region and period. Socks, if used, are sewn from crocheted strips.
CHILDREN OF THE NOBLE.
The clothing of children of noble parents differed from that of adults. At the same time, the costume must be made of valuable materials, and the jewelry used must be expensive. A typical suit would include an undershirt, probably a dress, as well as a coat and shoes.
CLOTHING OF COMMON WOMEN.
The costume of the commoners looked very similar to the clothing of the Anglo-Saxons. For wealthy people A linen undershirt, over which a woolen dress is worn, is mandatory. The presence of a headdress is likely, while the presence of shoes and some jewelry is mandatory. In addition, additional items are desirable: a grater, a spindle and a spindle, a knife, a chair and a flint.
Vikings... This word became a common noun several centuries ago. It symbolizes strength, courage, bravery, but few people pay attention to detail. Yes, the Vikings achieved victories and became famous for them for centuries, but they got it not only thanks to their own qualities, but primarily through the use of the most modern and effective weapons.
A little history
The period of several centuries from the 8th to the 11th centuries is called the Viking Age in history. These Scandinavian peoples were distinguished by their militancy, courage and incredible fearlessness. Courage and the inherent warriors physical health cultivated in all possible ways at that time. During the period of their unconditional superiority, the Vikings achieved great success in martial arts, and it did not matter where the battle took place: on land or at sea. They fought both in coastal areas and deep on the continent. Not only Europe became a battle arena for them. Their presence was also noted by the peoples of North Africa.
Excellence in the details
The Scandinavians fought with neighboring peoples not only for the sake of extraction and enrichment - they founded their settlements on the conquered lands. The Vikings decorated their weapons and armor with unique decorations. This is where artisans demonstrated their art and talent. Today it can be argued that it was in this area that they most fully revealed their skills. Viking weapons belonging to the lower social strata, photos of which amaze even modern craftsmen, depicted entire scenes. What can we say about the weapons of warriors belonging to the highest castes and having a noble origin.
What weapons did the Vikings have?
The weapons of warriors differed depending on the social status of their owners. Warriors of noble birth had swords and various kinds and ax shapes. The weapons of the lower classes Vikings were mainly bows and sharpened spears of various sizes.
Protection Features
Even the most advanced weapons of that time sometimes could not fulfill their basic functions, because during the battle the Vikings were in fairly close contact with their enemy. The Viking's main defense in battle was a shield, since not every warrior could afford other armor. It protected mainly from throwing weapons. Most of them were large round shields. Their diameter was about a meter. He protected the warrior from his knees to his chin. Often the enemy would deliberately break the shield in order to deprive the Viking of his protection.
How was the Viking shield made?
The shield was made of boards 12-15 cm thick, sometimes there were even several layers. They were fastened together with a specially created glue, and the layer was often ordinary shingles. For greater strength, the top of the shield was covered with the skin of killed animals. The edges of the shields were reinforced with bronze or iron plates. The center was the umbon - a semicircle made of iron. He protected the Viking's hand. Let us note that not every person was able to hold such a shield in his hands, and even during a battle. This once again testifies to the incredible physical characteristics of the warriors of those times.
The Viking shield is not just protection, but also a work of art
To prevent a warrior from losing his shield during a battle, they used a narrow belt, the length of which could be adjusted. It was attached with inside on opposite edges of the shield. If it was necessary to use other weapons, the shield could easily be thrown behind the back. This was also practiced during transitions.
Most of the painted shields were red, but they were also found with various bright paintings, the complexity of which depended on the skill of the artisan.
But like everything that came from ancient times, the shape of the shield underwent changes. And already by the beginning of the 11th century. The warriors acquired so-called almond-shaped shields, which differed favorably from their predecessors in shape, protecting the warrior almost completely up to the middle of the shin. They were also distinguished by significantly lower weight compared to their predecessors. However, they were inconvenient for battles on ships, and they occurred more and more often, and therefore did not become particularly widespread among the Vikings.
Helmet
The warrior's head was usually protected by a helmet. Its original frame was formed by three main stripes: 1 - forehead, 2nd - from forehead to back of head, 3rd - from ear to ear. 4 segments were attached to this base. On the top of the head (in the place where the stripes crossed) there was a very sharp spike. The warrior's face was partially protected by a mask. A chainmail mesh called aventail was attached to the back of the helmet. Special rivets were used to connect the parts of the helmet. Small metal plates were used to form a hemisphere - a helmet cup.
Helmet and social status
At the beginning of the 10th century, the Vikings began wearing conical helmets, and a straight nose plate served to protect the face. Over time, they were replaced by solid-forged helmets with a chin strap. There is an assumption that a fabric or leather lining was fastened inside with rivets. Fabric liners reduced the force of a blow to the head.
Ordinary warriors did not have helmets. Their heads were protected by hats made of fur or thick leather.
The helmets of wealthy owners had decorations and colored markings; they were used to identify warriors in battle. Headdresses with horns, which abound in historical films, were extremely rare. In the Viking Age, they personified higher powers.
Chain mail
The Vikings spent most of their lives in battle and, therefore, knew that wounds often became inflamed, and treatment was not always qualified, which led to tetanus and blood poisoning, and often death. That is why armor helped to survive in harsh conditions, but allowed one to wear it in the 8th-10th centuries. Only wealthy warriors could.
Short-sleeved, thigh-length chain mail was worn by the Vikings in the 8th century.
The clothing and weapons of different classes differed significantly. Ordinary warriors used and sewed on bone and later metal plates for protection. Such jackets were able to perfectly repel a blow.
Particularly valuable component
Subsequently, the length of the chain mail increased. In the 11th century slits appeared on the floors, which was greatly welcomed by the riders. More complex details appeared in the chain mail - a face flap and a balaclava, which helped protect the warrior’s lower jaw and throat. Her weight was 12-18 kg.
The Vikings treated chain mail very carefully, because the life of a warrior often depended on it. Protective robes were of great value, so they were not left on the battlefield and were not lost. Chain mail was often passed down from generation to generation.
Lamellar armor
It is also worth noting that they entered the Viking arsenal after raids in the Middle East. This shell is made of iron lamellae. They were laid in layers, slightly overlapping each other, and connected with a cord.
Viking armor also includes striped bracers and leggings. They were made from metal strips, the width of which was about 16 mm. They were fastened with leather straps.
Sword
The sword occupies a dominant position in the Viking arsenal. For warriors, it was not just a weapon that brought inevitable death to the enemy, but also good friend, providing magical protection. The Vikings perceived all other elements as required for battle, but the sword is a different story. The history of the family was associated with it, it was passed down from generation to generation. The warrior perceived the sword as an integral part of himself.
Viking weapons are often found in warrior burials. The reconstruction allows us to get acquainted with its original appearance.
At the beginning of the Viking Age, patterned forging was widespread, but over time, through the use of better ores and modernization of furnaces, it became possible to produce blades that were more durable and lighter. The shape of the blade also became different. The center of gravity has moved to the handle, and the blades sharply taper towards the end. This weapon made it possible to deliver quick and accurate strikes.
Double-edged swords with rich hilts were the ceremonial weapons of wealthy Scandinavians, but were not practical in battle.
In the VIII-IX centuries. Frankish-style swords appeared in the Vikings' arsenal. They were sharpened on both sides, and the length of the straight blade, tapering to a rounded tip, was slightly less than a meter. This gives reason to believe that such a weapon was also suitable for chopping.
The hilts on the swords were different types, they differed in hilts and head shape. To decorate the handles, silver and bronze were used in the early period, as well as coining.
In the 9th and 10th centuries, the handles were decorated with ornaments made of copper strips and tin. Later, in the drawings on the handle one could find geometric shapes on a tin plate, which were inlaid with brass. The contours were emphasized by copper wire.
Thanks to the reconstruction on the middle part of the handle, we can see a handle made of horn, bone or wood.
The scabbard was also made of wood - they were sometimes covered with leather. Inside the scabbard was sent soft material, which also protected the blade from oxidation products. Often it was oiled leather, waxed cloth or fur.
Surviving Viking Age drawings give us an idea of how the scabbard was worn. At first they were on a sling thrown over the shoulder on the left. Later, the scabbard began to be hung from the waist belt.
Saxon
Viking bladed weapons can also be represented by the Saxon. It was used not only on the battlefield, but also on the farm.
Sax is a knife with a wide spine, the blade of which is sharpened on one side. All Saxons, judging by the results of excavations, can be divided into two groups: long ones, whose length is 50-75 cm, and short ones, up to 35 cm long. It can be argued that the latter are the prototype of daggers, most of which are also brought to the status by modern masters works of art.
Axe
The weapon of the ancient Vikings is an axe. After all, most of the soldiers were not rich, and such an item was available in any household. It is worth noting that the kings also used them in battles. The handle of the ax was 60-90 cm, and the cutting edge was 7-15 cm. At the same time, it was not heavy and allowed maneuvering during the battle.
A Viking weapon, barbed axes, were primarily used in naval battles as they had a square protrusion at the bottom of the blade and were excellent for boarding.
A special place should be given to the ax with a long handle - the ax. The blade of the ax could be up to 30 cm, the handle - 120-180 cm. It was not for nothing that it was the favorite weapon of the Vikings, because in the hands of a strong warrior it became a very formidable weapon, and its impressive appearance immediately undermined the morale of the enemy.
Viking weapons: photos, differences, meanings
The Vikings believed that weapons had magical powers. It was kept for a long time and passed on from generation to generation. Warriors with wealth and position decorated axes and axes with ornaments and precious and non-ferrous metals.
Sometimes the question is asked: what was the main weapon of the Vikings - a sword or an ax? The warriors were fluent in these types of weapons, but the choice always remained with the Viking.
Spear
Viking weapons cannot be imagined without a spear. According to legends and sagas, northern warriors highly revered this type of weapon. Purchasing a spear did not require any special expenses, since they made the shaft themselves, and the tips were easy to make, although they were different appearance and purpose and did not require a lot of metal.
Any warrior could be armed with a spear. Its small size made it possible to hold it with both two and one hand. Spears were used mainly for close combat, but sometimes also as throwing weapons.
Particular attention should be paid to the spear tips. At first, the Vikings had spears with lancet-shaped tips, the working part of which was flat, with a gradual transition into a small crown. Its length is from 20 to 60 cm. Later, spears with tips were found different forms from leaf-shaped to triangular in cross-section.
The Vikings fought on different continents, and their gunsmiths skillfully used elements of enemy weapons in their work. The weapons of the Vikings 10 centuries ago underwent a change. Spears were no exception. They became more durable due to reinforcement at the transition point to the crown and were quite suitable for ramming attacks.
There was essentially no limit to the perfection of spear handling. It has become a kind of art. The most experienced warriors in this matter not only threw spears with both hands at the same time, but could also catch it on the fly and send it back to the enemy.
Dart
To conduct combat operations at a distance of about 30 meters, a special Viking weapon was needed. Its name is dart. It was quite capable of replacing many more massive weapons when used skillfully by a warrior. These are light one and a half meter spears. Their tips could be like those of ordinary spears or similar to a harpoon, but sometimes there were petioled ones with a double-spike part and socketed ones.
Onion
This common weapon was usually made from a single piece of elm, ash or yew. It served for long-distance combat. Bow arrows up to 80 centimeters long were made from birch or coniferous trees, but always old ones. Wide metal tips and special plumage distinguished the Scandinavian arrows.
The length of the wooden part of the bow reached two meters, and the bowstring was most often woven hair. It required enormous strength to operate such a weapon, but that is what the Viking warriors were famous for. The arrow hit the enemy at a distance of 200 meters. The Vikings used bows not only in warfare, so the arrowheads were very different, given their purpose.
Sling
This is also a Viking throwing weapon. It was not difficult to make it with your own hands, since you only needed a rope or belt and a leather “cradle” into which a round-shaped stone was placed. A sufficient number of stones were collected when landing on the coast. Once in the hands of a skilled warrior, the sling is capable of sending a stone to hit an enemy a hundred meters from the Viking. The principle of operation of this weapon is simple. One end of the rope was attached to the warrior’s wrist, and he held the other in his fist. The sling was rotated, increasing the number of revolutions, and the fist was unclenched at maximum. The stone flew in a given direction and struck the enemy.
The Vikings always kept their weapons and armor in order, because they perceived them as part of themselves and understood that the result of the battle depended on it.
Undoubtedly, all of the listed types of weapons helped the Vikings gain fame as invincible warriors, and if the enemies were very afraid of the weapons of the Scandinavians, the owners themselves treated them with great respect and reverence, often giving them names. Many types of weapons that took part in bloody battles were passed down by inheritance and served as a guarantee that the young warrior would be brave and decisive in battle.
Description of the presentation by individual slides:
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Goals and objectives of the project work Goal: based on written and material sources, to give a general idea of the women's costume of Scandinavia in the 9th-11th centuries. in the context of reflecting the socio-economic and ethnocultural history of the region. Tasks during the project: 1. Reconstruct a Scandinavian women's costume (based on materials from the burial monuments of Birka, Hedeby), based on the information received, make clothes for the doll; 2. Develop key social and labor educational competencies; social activity, the ability to analyze, compare information, draw conclusions and create with your own hands what is intended; 5. Form aesthetic needs and values.
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Data on women's costume of the Viking Age of the 9th-11th centuries. fragmentary. This is explained by the fact that at the early stage of archaeological study (in the 19th century), researchers were more interested in “striking” finds: swords, brooches, etc., while “ordinary” finds, such as textile remains, often remained out of sight. Findings of clothing fragments therefore either simply disappeared or ended up in museum collections for a long time. Agnes Geijer was the first to show academic interest in the Birka textile finds. By the time her research began, all hope of accurately reconstructing the clothing had already disappeared. At the same time, layers of fabric were preserved on tortoiseshell and other brooches, so it was known how many layers of clothing were worn, but no idea what the individual costume looked like. As a result, her work was published only in 1938. Geyer reconstructed the undershirt, over which was worn a “pinafore arrangement” with straps that were fastened with tortoiseshell brooches. Many famous researchers, such as M. Hald in 1950 and Inga Hagg in 1974, continued Geyer's work, and their reconstructions of Scandinavian women's Viking Age costume went into print. History of the study of Scandinavian costume of the Viking Age
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Clothes of the nobility Undershirts remained without folds in the 9th century, but in the 10th century they were more often pleated. They reached ankle length and were fastened (in the 10th century) at the throat with an ordinary round fibula. It is assumed that this was a garment with pleats along the entire length of the body, to which pleated sleeves were sewn. These "folded shirts" were tied around the neck with a cord. Pleated sleeves are reconstructed with either longitudinal or transverse folds. Inga Hegg showed, based on an analysis of corrosion on the backs of the brooches, that the folds ran horizontally, around the arms.
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Remains of an underdress were also discovered in Hedeby, a large Danish trading center. They were also pleated, or, in a simpler version, with a hem widened by gussets. One of the finds was very long, lined with down and decorated with buttons from the ankle to the hem. Perhaps this is a local variant specific to Denmark. Undershirt with wedges from Birka
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Dress Based on Birka's materials, it was assumed that this garment was knee-length and decorated with braid. It was also assumed that the outer dress was usually made of silk, and the cuffs of the sleeves were decorated with expensive embroidery. However, a clear picture is still missing. Not all women were buried in full costume, the fabric of different pieces of costume differs, and not all materials were preserved in different graves. In some cases, the dress (if worn) was made of diamond-weave wool or silk. The same observation can be applied to aprons, although in some cases their straps were made of linen. The same uncertainty is observed in the length of the robe. With such a small amount of surviving materials, it is possible to determine the length of the clothing only from the surviving fragments of braid.
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Consequently, the dress can also be considered as a rather short robe with valuable embroidery on the sides, as well as on the cuffs.
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Apron (apron) An apron (apron) was worn over the dress. By examining the number of loops that were fastened with tortoiseshell brooches, Fleming Bau identified at least four different complexes. When compared with the "Valkyrie figurines" the following was assumed. The apron was wrapped around the body, with the front part remaining open. Loops were sewn to the upper corners, to which tortoiseshell brooches were attached. Two additional loops were sewn from the back to the middle of the upper edge and, being thrown over the shoulders, were fastened to the front loops with brooches. In the second version, a long bib was added to the apron, which was fastened to the brooches. A beautiful illustration can be seen on the gold figurine for Hnefatafl from Tuze (Tuse, Denmark).
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The third option added to the previous one (apron and bib) a long train at the back, which was also attached with loops to tortoiseshell brooches. An illustration of this option can be found on a silver figurine of a Valkyrie from Tuna (Tuna, Sweden). The fourth option included an apron and pleated train, but no bib. Options for the location of the loops could be as follows (from left to right): One loop on top and two loops on the bottom for 1 option (apron and bib). Two loops at the top and two loops at the bottom for option 2 (apron, bib and train). Two loops on top and one loop on the bottom for option 3 (apron and train). Aprons were made of wool or silk, sometimes finished with embroidery or a wool or silk border. Information about the material of the train is unknown, but since wool does not retain folds well, the most likely would be silk or linen.
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Belts No belts were found in the Birka women's burials, which can be considered as a feature of the burials of the nobility, since it was assumed that there would be maids and workers to perform various housework: a spacious apron and chains would only get in the way in this case. However, the absence of belts can be interpreted as a characteristic feature of the funeral rite. Thus, men were buried with swords, which indicated that they were warriors and could enter Valhalla. In this case, the absence of belts in women's burials should have indicated that they were wealthy enough to have maids and workers to perform daily household needs. In practice, the tradition of wearing woven belts was widespread. Moreover, silver belt tips with silk remains were discovered in some Birka burials. They may have belonged to woven silk belts, and some may have been worn by women.
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Outerwear On top of some aprons, as the finds show, another piece of clothing was worn. It had sleeves, but, unlike the men's caftan, this robe did not fasten with buttons. A brooch was used as a clasp, either three-leafed or disc-shaped round. Outerwear was probably made of silk or woolen tweed. Considering the presence of various types of decorations on items of women's costume, outer clothing was more than likely decorated with embroidery or braid. It is quite possible that it was the outerwear that was interpreted as a dress. The center shows a variant of outerwear decorated with embroidery from burial 735 Birki.
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The completion of the costume complex was a cape, which is clearly visible on the Valkyrie figures. Cape Capes or bedspreads were made of wool or silk and were sometimes trimmed with fur. The capes were fastened near the neck with brooches of various types. They must have been quite open at the front, since some Valkyrie figurines (Tuna, top first from left) and embroideries (Oseberg Tapestry (Norway), fourth from left show breast brooches even with a cape on.
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Headdresses According to all sagas, married women walked with their heads covered. However, none of the figures wear a headdress. Fragments of head coverings have also been found in sufficient quantity in Dublin, and an embroidered hood has been found in Orkney. In addition, there are expensive silk examples of finds from York and Lincoln. At the same time, in some pagan burials traces of a headdress can be traced. On the Oseberg tapestry (8th century AD), women's heads are covered, while no traces of headdresses were found in Christian burials. One can only conclude that while Scandinavian women could choose whether or not to wear a head covering, married Christian women were required to cover their heads.
The text was prepared by Pavel Voronin. Refinement and adjustment - a group of proactive citizens.
All images are taken from free access on the Internet.
Instead of a preface
This text is only a summary of what is available in at the moment knowledge on men's costume in the second half of the first millennium AD in Northern Europe in general and Scandinavia in particular. Perhaps you are going to a historical festival for the first time, or you are a fighter who doesn’t want to delve into the sources, or maybe you are a merchant whose purpose of travel is only to sell his goods... In general, if you are one of the above, or perhaps any other category of people for whom it is important to be guaranteed admission to the festival, spending a minimum of effort, and not then receive a “lifetime ban” for not matching their kit with what was declared - this text is for you.
Completeness
For a simple everyday set, you should choose simple materials. It is this rule that will become the main postulate of our entire text. We will not consider at least the least “pretentious”, status things, since our goals do not include a discussion of the sets of warriors, jarls and other nobility. The kit should not contain anything superfluous, and, in particular, nothing that may raise any additional questions. The inclusion of such elements remains at your discretion and leads to independent work with sources in order to justify the presence of such an item in your everyday kit (such work, of course, is welcome, but goes beyond the scope of the task assigned to the compilers of this text).
So, the set we are considering will include: a headdress, a shirt, trousers, shoes, a raincoat, a kind of belt, a container for various small items, a knife. It is also possible to add socks and windings to the set. Shirt and trousers are the same, “underwear” (the second set of trousers + shirt, acting as underwear) is not at all necessary. Despite the great desire of many reenactors to “attach” various pendants, rings, bracelets, etc. to themselves, it is strongly recommended to refrain from this. Our kit is positioned as casual wear common man, and therefore all these are most likely luxury items for him. Any casting, be it silver or bronze, can be perceived as “jewelry,” which undoubtedly costs a lot for such a person. Iron and bronze products will be discussed below, but let’s immediately make a reservation that their number in a set should be limited.
Materials.
For clothing, we recommend choosing woolen fabric (in any case, the festival rules require woolen clothes) with visible weave, plain or simple twill (2/1, 2/2), and thread density from 10 to approximately 16 per centimeter (for thick fabrics the density may be lower due to the significant thickness of the threads used in their manufacture ). The colors are natural, corresponding to the color of undyed wool: beige, brown, gray. If you do not understand the features of historical textiles, then you should refrain from using cloth and other felted fabrics, since not always what we can find in the store has a suitable appearance.
Linen fabrics are excluded for the set in question, since it is assumed that for Scandinavia they were an import item and therefore were very expensive. If you have an individual intolerance to wool (allergy, etc.), then you should probably choose a different region or time period.
It is preferable to sew the details of the product with woolen threads. Exceptions to this rule are possible, but they will also require additional justification, and therefore it is better to think again whether it is worth it.
Plain weave
2/2 twill weave
Twill weave 2/1
The historical seams are quite simple. The main ones will be “forward needle” and “connecting”
Seams on textile fragments, Hedeby.
For shoes you should choose natural leather brown flowers(this is what it becomes after tanning, initially it is generally almost white) and of insignificant thickness - 1-2 mm, no thicker (optimally around 1.5 mm). This kind of leather also holds a candle, as we see from numerous materials from the same Hedeby.
A small manual on self-production shoes can be seen
The belt is suitable for leather up to 3 mm thick. It is best to use the skin of small or large livestock, that is, goats or cows. Despite the significant number of pork bones confirming that pork was firmly part of the Scandinavian diet, the compilers of this manual are not aware of any finds of products made from pig skin.
For accessories, we give preference to wood, bone, horn, and as a last resort we use iron (it’s not cheap either).
Headdress
Our choice is simple hat. Without fur trim. Hemispherical or caps of different heights (short ones are worn just like that, tall ones with a crease at the back of the head). The easiest way is to use the option of cutting a hat from wedges. It can also be made from felt. For example, a significant number of felt fragments were found in Hedeby. If you want to keep warm, sew a sheepskin hat with the fur inside, like ancient man from Tollund (swamp mummy, 2nd-4th century BC). Look possible options Scandinavian headdresses can be found in the second part of this article
Shirt
Loose in the body, unbelted, knee-length. With small slits on the sides for convenience. It is the loose cut of the body that allows these cuts to be made small. The collar is either navicular (basically oval), or like a blouse. With a navicular collar, its size is calculated so that it corresponds to the circumference of the head, no more. The collar with an offset cut is cut like a shirt from Bernutsfeld or Guddal. We try not to make the sleeves too wide, narrowing them towards the wrist. The narrower the sleeves, the better, the main thing here is to ensure that they do not interfere with movement. Gussets are an extreme measure; ideally there is no need to do them (they are extremely rare in finds). We do not sew wedges into the hem, because they are not needed for the cut we are considering.
This archaic cut seems to be the simplest and does not require additional work with sources for a specific region. At the same time, there are other options, for example in Hedeby. However, since the possibility of their use depends on the specific kit and, again, additional justification is required, these options are not considered in our manual.
Trousers
Quite narrow, almost clingy. They are based on finds in Thorsberg or Damendorf. The cut of the pants from Hedeby can also be taken into account - it is similar to both Thorsberg and Damendorf, but there are still differences. If you make pants with socks like in Thorsberg, then you may no longer need separate socks. The cut of these pants is very specific, so experiment with a scrap rag first. The simplest appears to be one of the two pants found in Thorsberg (pants 2 in the picture below). But perhaps “experiments with a rag” will not seem superfluous to you here either. Recommendations for sewing more complex pants from Thorsberg. Loose pants and, especially, bloomers, which require a significantly larger amount of fabric, cannot be a part of the simple set we are considering.
Thorsberg pants (1)
Thorsberg pants (2)
Pants from Damendorf
Remains of pants from Hedeby
Socks
Either order/make proper low-rise (ankle-length) needle-knitted socks, or sew pants with socks. You can also make highway stockings that reach mid-thigh. The latter are tied to the belt or “loop loops” of the pants.
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| Knitted sock from Coppergate | Remains of the highway, Hedeby |
Windings
In the case of a simple, sparse set, it is possible to use ribbons not only of twill, but also of plain weave. Again, decide whether you need relatively expensive windings in addition to your already quite comfortably fitting tight pants.
Shoes
Choose a simple type, ideally some simple low-rise boots with a strap. If there is such an opportunity, you can even go barefoot, because shoes for everyday wear are for wealthy people.
Belt
You can limit yourself to a piece of authentic rope or recycled leather cord. Or you can make a belt with any simple buckle, for example, an iron one (based on a find from Hedeby), a simple bronze one made of a rod (finds from the Birka garrison) or a bone one (a find from York?) (when choosing, initially try to focus on the region in which , perhaps you will look into it later: regional differences could be quite significant, so there is no guarantee that simple solutions in one territory were popular in another). When considering your options, it is important to remember that finding belts with only one buckle is no exception. In addition, finds of belt “accessories” in general are a very rare phenomenon. For example, out of 1,200 Birka burials, such finds are found in only 2-3 dozen burials.
Cloak
A simple rectangle of thick fabric, with a density of approximately 10 threads per cm. It will replace both a blanket and a hood for you. For stabbing, you can make a bone cloak needle, of which there are a great many varieties. You can also choose some other inexpensive fastener. The cloak can reach the size of 200x170 cm as in Bernutsfeld, and if we take into account the differences in average height in our day and at that time, it is possible to make it in a larger size.
Wallet/bag
The simplest wallet is made from a round piece of leather fastened with a strap with holes along the edge. Or it is sewn together from one or two pieces of leather in the form of a pouch. The size of such wallets is very small - maximum 10x15 cm.
Knife
It is better to take specimens with the most common types of blade and with a simple wooden handle without threads and leather/metal bolsters (a plate inserted between the handle and the blade). Finds of horn inserts are quite rare and their use in such a simple set remains questionable. The knife must have a simple leather sheath stitched with linen thread.
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| Knives, Novgorod | Scabbard, Hedeby |
