What Size Were Brooches in the Middle Ages – Part 3 – Hooks – Sharp and Blunt

The pre-1600 hooks that are different from our modern hooks and eyes can be broken down into two main classes, sharp and blunt. The blunt hooks were designed to either be used with a large eye hook, or with some other kind of loop or hole. Any of these hooks can either be cast, or cut from metal sheet or wire. They can be plain or decorated with stampings, engraving, glass gems, enamel, rivets, or any combination of these techniques. These hooks can be made of tin, lead, bronze, or silver (or a gazillion other in-between alloys). They were sometimes tinned, silver plated, or gilded to make them appear to be more valuable. We usually only see solid gold items used in jewelry.

Blunt hooks were frequently used in jewelry to close necklaces, bracelets, and torques. A blunt hook could also be used to hold a belt closed (we may think of them as buckles, but technically a flat plate with a hook on the underside or the end, is a hook). They could also be used to close pouches and bags. They were often very decorative, and we have an example of a surviving jacket with large versions of these all the way down the front. Most of these hooks only have one hook. The wrist clasps that were used by both Anglo Saxons and Vikings are a form of blunt hook and eye. Some of the Anglo Saxon wrist clasps were riveted onto a leather band, but most wrist clasps were probably sewn in place.

types of real hooksA selection of hooks. All of the hooks in the picture, with exception of the jewelry hook, are real artifacts. The hooks in the left column are all sharp. The top two are dress hooks from England (the hook on the bottom one is squashed sideways, but the top hook is just as sharp), and the two hooks at the bottom are from Germany. The right column is all blunt hooks. The blunt hooks start at the top with the eye side of a wrist clasp, then two dress hook and eye sets, and then at the bottom a simple jewelry clasp.

The sharp hooks come in many configurations. I am aware of hooks with one hook, two hooks, three hooks (evenly spaced in a circle), and four hooks (two on each end). To be honest, we are uncertain of all of the uses for these hooks. They are usually found as “occasional finds” by metal detectorists. That means they were probably lost while in use, or the fabric or other organic material that they were attached to has disintegrated and they are found in a context that would determine or explain their use.

How were sharp hooks attached? Some were probably sewn in place, and others, especially those attached to leather, were often riveted in place. A single point hook could be used to close leg wraps, clothing, and purses. Two pronged hooks (one on each end – see picture above) could be used to close the neck of a lightweight cape or cloak, and so can a four pronged hook with two hooks on each end. These were not sewn in place – they relied on the hooks to keep them in place. A three pronged hook could also be used to support the back of a ladies skirts to keep them clean.

Anatomy of a hookHow big are these hooks? The ones that I have seen range from an inch long (not counting the portion of the hook that is underneath the hook), to about an inch and 3/4 long. The really large hook and eye sets (either cast or sheet work) can be as large as four inches from end to end. They all suffer from the same problems – they can open if they are not kept under at least a minimum amount of tension. The really large blunt hooks often have enough length to the hook that they are unlikely to unhook, but they are also several inches long, as a set. The large blunt hook sets can also be fairly bulky, and are usually only used on the outside of a garment.

Next time: Buttons and Toggles

What Size Were Brooches in the Middle Ages?

I could just as easily have asked this question about any sort of common item, and because of my training I often do. I realized a couple of years ago that many people have a total misconception of the size of a lot of things that people used. Despite years of education and extensive training I am NOT completely immune to this problem. I sometimes buy small metal detector finds, and have been caught in this trap.

A little while ago I purchased a very nice annular brooch (ring brooch). It was a good looking bronze piece which had a sort of twisted rope look. There were no dimensions given for the piece and I assumed that it was at least twice the size that it actually was. I was shocked when I saw how tiny the brooch actually was. This made me wonder how common an issue this really was. So, I looked at the given dimensions for many other items that were on sale. Then I went to a couple of the museum sites and looked at the actual sizes of the finds in the museum. And yes, there were a few really magnificent huge pieces, but in general the brooches and everyday pieces were rather small – at least by modern standards.

Researching the size of the people who wore these items in England shows that women during the Middle Ages were generally about 5 foot 2 inches tall and men about 5 foot 6 inches. The article that I read said that this meant that Medieval Women were only an inch taller than modern women. I am 5 foot 9 inches tall. My grandmother, who was born in about 1890, was 5 foot 2 inches, but most of my female friends are at least 5 foot six. Now I consider myself to be a little taller than average, but not dramatically so. Is it possible that these brooches were sized smaller because the people were smaller, or were they sized smaller because of the value of the metal?

I don’t think that we can give a definitive answer to this question, but I would love to hear people’s opinions on this topic. Metal really was a valuable commodity.

Inexpensive metals like tin and lead were commonly used to make lower end pilgrim’s badges and decorative pieces. These metals both have a very low melting temperature, which means that they can be cast using a simple hearth. Pilgrim’s badges give us other important clues as well. Some tears ago I had the good fortune to meet with the curator of medieval artifacts for the Museum of London. Besides the sheer exhilaration of spending time with John in the bowels of the Museum storage looking at pilgrim’s badges, I also noticed the casual finishing of these ubiquitous items. Many of the badges had flashing left over from the manufacturing process. Modernly, we would expect those “manufacturing defects” to be removed. Casting and finishing of tin and lead are easy, so the condition of the pilgrim’s badges indicates the acceptance of a rough finish for some pieces.

Next time: Bronze brooches and other tiny things

One of my pewter brooches, a dime, and the tiny brooch that I bought.

One of my pewter brooches, a dime, and the tiny brooch that I bought.

 

Casting Metal: Soapstone Molds – Part 4: Pouring the Metal and Perfecting the Mold

OK, so you have your mold ready, you are wearing safety equipment, and you have your metal melted. Now what? I highly recommend clamping the mold closed with something that will not burst into flame if you pour molten pewter on it. You do not need to use a lot of pressure, but the mold pieces do need to be properly aligned and held together. My most common arrangement is a couple of spring clamps that hold everything neatly in place. You can use C clamps, but be careful not to apply too much pressure to the mold, you do not want to crack it. Experienced pewterers will often simply hold the mold closed with a heat resistant glove on and pour the metal. I have done it many times myself, but one of the problems is that the mold will become progressively hotter as you pour each piece. If you are pouring a lot of molds at once, the molds will have some time to cool down, but it you are only pouring one or two molds the molds will quickly become too hot to hold and you will be at risk of dropping the mold, which could break the soapstone.

These are the types of clamps that I use.

Why clamp the mold? It allows you to keep your hands completely out of the way of the molten metal. Most people will use a small metal ladle with a spout to scoop up and pour the metal from the melting pot into the mold. Whether you are doing that, or simply pouring from the container in which you melted the metal into the mold it is inevitable that at some point you will spill some molten metal outside of the mold. That is why the surface on which the mold rests while you fill it needs to be non flammable, and you need to have your hands out of the way.

Pour molten pewter into the mold until it is full. Wait for the metal to cool down and re-solidify. If you jiggle the mold a lot at this stage you risk creating a grainy unusable product. Leave the mold alone. If you watch the metal cool you will see it go from shiny to dull. Give it several more minutes, and then open the mold. Both the mold and the casting will be HOT.

The chance that your piece will pour perfectly the first time that you try it is slim. If it does, and continues to pour well, congratulations! You have completed your first soapstone mold.

If the piece does not cast well, try again. Make careful observations. Does the casting improve as the mold warms up? Does it seem as if there is enough metal? The sprue and funnel area should be completely filled with metal. If they are not, are you pouring the metal directly into the funnel portion of the sprue? Is the metal hot enough? If the metal is too cool it will be more viscous and not flow as well.

Next Time: My Piece is Not Casting Well – What do I do next?