A few months ago I was able to in my goldsmithing course welcome a truly exceptional guest: A metal detectorists with research permission and a passionate passion for the time of migration of peoples wanted to fulfill a long-held dream with my help: the creation of a replica of a so-called “bracteate” in the form of a pendant.
This goldsmithing course will certainly remain a special memory for me. We were both able to wonderfully exchange our knowledge of historical goldsmithing techniques, deepen our knowledge together, and simply "talk shop" in a fabulous and seemingly endless way...
What is a bracteate?
The bracteates of the Migration Period represent a special form of early medieval gold-sheet coinage, which were widespread between the 5th and 7th centuries AD, especially in Scandinavia and northern Germany. They are considered unique testimonies of that turbulent era, which was marked by the disintegration of the Western Roman Empire, migrating tribes, and cultural reorientations. Unlike the later bracteates of the High Middle Ages, which were mostly made of silver, a bracteate from the Migration Period was made of thin gold sheet – and served not primarily an economic but primarily a ritual and symbolic function.
The bracteate is usually round, embossed on one side, and was often worn as an amulet. Many have an eyelet or are perforated, indicating their use as jewelry or cult objects. Their motifs are striking and mysterious: They often depict human figures, animal depictions, runic inscriptions, or hybrid creatures, the precise meaning of which still gives rise to diverse interpretations today. Particularly well-known is the so-called Type C bracteate, which shows a standing male figure with a horse hovering above his head—a motif often associated with the North Germanic deity Odin is associated.
A bracteate from this period is strongly influenced by Roman coinage. Many earlier examples imitate Roman gold medallions or depict stylized portraits found on Roman coins. Over time, however, their own iconographic forms developed, increasingly departing from the ancient model and reflecting Germanic mythical content. This development indicates a process of cultural transformation in which foreign influences were absorbed and transformed into a new, independent symbolic language.
The function of the bracteate has not yet been conclusively clarified. Archaeological finds indicate that they were rarely used in everyday transactions. Instead, their significance seems to have been primarily in the magical or religious sphere. Runic inscriptions Some bracteates speak of protection, healing, or divine power. Many researchers suspect that the bracteate served as a protective amulet, possibly worn by members of the elite to request divine assistance or to demonstrate affiliation with certain religious beliefs.
Such bracteates were found mainly in graves, Moor victims or in treasure finds—evidence that they possessed high sentimental value. Their distribution is concentrated in the southern Baltic region, particularly Denmark, southern Sweden, Norway, and northern Germany, which underscores their close connection to the Germanic culture of the north.
Today, the bracteates from the Migration Period are considered key objects for understanding the early history of Northern Europe. They tell of a transitional period between antiquity and the Middle Ages, of the connection between political power and religious symbols, and of a rich, yet often fragmentarily preserved, mythical worldview. Their mysterious imagery continues to fascinate today and invites us to rediscover the spiritual depth and creative expressiveness of a bygone culture.
My guest's thoughts on his motivation to participate in my goldsmithing course:
"...During the transformation period from late antiquity into the early Middle Ages, a gold bracteate called Zealand II C was created. It was found in what is now Denmark. What I find fascinating about this piece of jewelry is the very unique formal language that this Nordic culture, or rather the goldsmith, developed. Instead of simply copying ancient Roman forms, a unique style was created, which, together with the inscription in Futhark (runic script), is unique. The meaning of the inscription has so far been interpreted in two ways: either "My name is Hariuha, the traveler. I provide protection on the journey" or "I am called Hariuha, knowing misfortune, I bring good luck." The rider—presumably meant to represent Odin—and his horse could almost have come from a modern illustration; for me, a great blend of timeless design, humor, spirituality, and craftsmanship. At some point, my fascination with this piece of jewelry gave me the desire to make it myself, and I began to study the technique for making bracteates. I needed help with some very important details, such as making the outer decorative wire and soldering the individual pieces, and my first point of contact for such matters was Stefani Köster, who had already helped me make a finger ring about three years ago. Stefani showed me how to make the wire and how to solder the thin pieces. As before, it was a wonderful experience for me to complete this project with Stefani. With her years of experience and the relaxed atmosphere in her goldsmith's workshop, it was a pleasure to be able to learn there..."
Michael H.
Impressions of the completion of the bracteate replica by Michael in my studio
