Ottonian Ivory, Raising of the Widow of Nain's Son, cross
European Museums, The British MuseumOttonian Ivory. Raising of the Widow of Nain's Son. Sunk panel; ivory; carved partly in open-work.
Ottonian ivory and brooches
Ottonian art was notable for its luxury and exquisite craftsmanship. The ivory panel, from a church altar or pulpit, may have been backed by gold that would have glinted through the open-work design. The five opulent brooches are enriched with pearls, gems, filigree (beaded wire) and cloisonne enamel set into gold cells. The oval-shaped brooch is inlaid with a cameo inscribed in Greek, wishing luck to the wearer.
A.D. 900s-1000s. Magdeburg Cathedral, Germany, attributed at Milan, Italy, 1856,0623.25. Near Dowgate Hill, London, 1856,0701.1461. Possibly from Italy, 1872,0604.761. Bequeathed by Sir Augustus Wollaston Franks, AF.352. Charles Townley collection, 1814, O.A. 4821. Italy, 1887,0513.1
The Norman Conquest and the end of Anglo-Saxon England
The first two coins show the last Anglo-Saxon kings of England, Edward the Confessor (1042-1066) and Harold II (1066). The last coin depicts the first Norman King of England, William the Conqueror (1066-1087). William, a duke from Normandy (north-west France), invaded England and defeated Harold II at the Battle of Hastings in 1066. This event traditionally marks the end of the Anglo-Saxon period in England.
A.D. 1042-1087, Minted by Leofwold of Winchester, 1851,0313.2; BMC II, p. 473, no. 114; 1851,0313.111
Supplementary images:
Ottonian Ivory. Raising of the Widow of Nain's Son. Sunk panel; ivory; carved partly in open-work
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