The archæology and prehistoric annals of Scotland

by Sir Daniel Wilson

They form altogether portions of eight or more sets, none of which, however, appear to be complete. They vary considerably in size, the largest being four and one-eighth inches in height, while the smallest measures fully an inch less; but the smaller sets are, upon the whole, more carefully and elaborately carved. The annexed illustration represents one of the smaller kings, now in the collection of Mr. Sharp. In point of costume it closely resembles the example engraved in the Archæologia, as well as the others of the set, though differing somewhat in the fashion of the beard. The king is represented as an old bearded man, with long hair falling in plaits over his shoulders, and a low trefoil crown on his head. He is seated on a chair with a high back, richly carved with intricate tracery and ornaments, corresponding, for the most part, to the style of decoration with which we are familiar on the Romanesque work of the twelfth century, and holds a short sword with both hands across his knees, as if in the act of drawing it.

The queens are crowned and throned in like manner. They are represented seated in a contemplative posture, resting the head upon the hand; and two of them hold drinking horns in their left hands. The most striking portion of their costume, represented in the accompanying engraving from one of those in Mr. Sharp's collection, is a species of hood depending from the back of the head, and spreading over the shoulders.[595]

Of the bishops some are seated in chairs similar to those occupied by the kings and queens, while others are in a standing posture. Sir F. Madden remarks, "all of the sitting figures and four of the standing ones wear the chasuble, dalmatic, stole, and tunic of the form anciently prescribed, and corresponding with representations of much greater antiquity. The remainder have a cope instead of a chasuble, but omit the stole and dalmatic. The mitres are very low, and in some instances quite plain, but have the double band or infulæ attached behind. The hair is cut short round the head. They hold a crosier with one or with both hands; and in the former instances, the other hand holds a book or is raised in the attitude of benediction."

The knights afford perhaps the most characteristic examples of the costume of the period. They are mounted on horseback, armed with a heavy spear, and a long kite-shaped shield. Beneath the shield appears the sword, attached to the waist by a belt. The helmets are mostly of a conical shape, in addition to which several have nasals projecting in front, and round flaps protecting the ears and neck. The horses are caparisoned in high saddles, stirrups, and bridles, and with long saddlecloths, fringed with ornamental borders, reaching to the ground.

The footmen or warders bear the same kite-shaped shields as the horsemen, and are armed with swords and head-pieces of iron of different forms. The costume otherwise worn by them has obviously been made subservient to the convenience of the carver, as in the long saddlecloths of the horsemen, and consists, for the most part, of an ample flowing robe, reaching to the ground and concealing the feet. Numerous variations occur in the details of these remarkable carvings, and the utmost variety of design characterizes the ornamentation of the chairs on which the kings, queens, and bishops are seated. Their dresses also vary in ornamental detail, and each of the shields, both of the knights and warders, is decorated with some peculiar device or interlaced pattern, some of which approach very nearly to the heraldic blazonry of a later period, and no doubt indicate the first accidental rudiments of medieval cognizances.

The various details of costume and ornament indicated in this brief description, furnish the chief evidence by which we may hope to assign the period and place of manufacture of these interesting works of early art. This question has already been discussed with much learning and ability by Sir Frederick Madden, who remarks, "I shall now proceed to develop the result of my inquiries in respect to the place where and the period when these chessmen were in all probability manufactured. I shall draw my inferences from three separate subjects of consideration; the material of which they are made, the costume in which they appear, and the historical passages to be found in the ancient writings of Scandinavia; and from each I shall endeavour to prove that these pieces were executed about the middle of the twelfth century, by the same extraordinary race of people who, at an earlier period of time, under the general name of Northmen, overran the greater part of Europe." Against the conclusions carefully arrived at by following out this proposed course of reasoning, with the exception of the period to which they are assigned, I venture, in all deference, to enter a demurrer. It has been so long the fashion to assign every indication of early art and civilisation found in Scotland to these Scandinavian invaders,—though, as I trust has already been shewn, in many cases without evidence and upon false premises,—that it becomes the Scottish archæologist to receive such conclusions with caution, even when advanced by high authorities and supported by evidence. The farther we pursue this investigation into the history of primitive native art we find the less reason to assign to it a foreign origin, or to adopt the improbable theory that the rude Scandinavian rovers brought with them from the Pagan North new elements of civilisation and refinement to replace the Christian arts which they eradicated at the point of the sword. Singer justly remarks on the characteristic difference between the Greek and Scandinavian traditions of the mythic artist, Dædalus or Weland, that the Greeks ascribed to theirs: "Plastic works, and above all images of the gods, while the Scandinavians attributed to their workman principally weapons of a superior temper. It is that the Greeks were a people alive to the beauty of mythologic representations. The Scandinavians, on the contrary, valued nothing but good swords, with which they conquered that which the rude climate of the North denied them."[596] Doubtless, by the middle of the twelfth century a very great change had taken place, but then we trace it not in the invention of a northern Christian art, but in the tardy adoption of what was already common to the ecclesiology and arts of Christendom.

As to the material of the Lewis chessmen, the mere fact of their being made of the tusks of the Rostungr or Walrus—the "huel-bone" of Chaucer—can no more prove their Scandinavian origin, than that of the still older set of Charlemagne being of ivory[597] (presuming this to mean the elephant's tusk) affords any evidence of Indian manufacture. By the middle of the twelfth century, the Northmen had traded as well as warred with Scotland for nearly three centuries, and were at that late period, as Mr. Worsaae remarks, "the central point for an extensive commerce between the east and the northern parts of Europe."[598] The author of the Kongs-Skugg-sio, or Speculum Regale, composed, as Einersen concludes, between the years 1154-1164, but certainly before the close of the century, takes particular notice of the Rostungr, and mentions also the circumstance of its teeth and hide being used as articles of commerce. Such indeed almost of necessity follows from the evidence of the frequent voyages of the Scandinavians in pursuit of these animals, at a time when they had abandoned the old predatory habits of the Vikings for a regular government and peaceful intercourse with other nations. The nature of their settlements on the Scottish islands and mainland, and their alliances and intermarriage with the aboriginal race, may also suffice, if further proof be needed, to shew that the walrus ivory could be no great rarity in Scotland, when it formed a special article of commerce with the Northmen. We accordingly find distinct evidence of its native use: "Ivory dirk-hilts, elegantly turned or wrought by the hand, were manufactured in various parts of the Highlands and isles. Of these specimens still remain at Fingask and Glengary,"[599] and a curious large sword, evidently of early date, preserved at Hawthornden, near Edinburgh, has the hilt made of the narwhal's tusk. The argument of Scandinavian origin from the material is therefore of no value, and the varied devices on the chairs and other highly decorated portions of the Lewis chessmen are equally little indicative of Northern art. They are the same details as are familiar to us on the Romanesque work of the twelfth century, never yet traced to a Northern source. In St. Magnus Cathedral we have a most valuable specimen of Romanesque style, executed in obedience to the piety of a Scandinavian jarl of the Scottish Isles, but so far from finding in it any trace of a style peculiar to the Northmen, its oldest portions are characterized by the usual features of the fully developed style, manifestly derived from Southern models, and betraying in these the later date of its foundation than the examples of the same class which still remain at Durham and Dunfermline. No Scandinavian ecclesiologist, I believe, doubts the foreign origin of the few examples of the earlier styles of medieval ecclesiastical architecture still remaining in Norway and Sweden; and the evidence already adduced tends to suggest the conclusion that whatever military and naval skill the natives of Scotland might acquire from their intercourse with the Northmen, they were much more likely to impart than to receive a superior knowledge in the arts of the sculptor and the carver. Christianity was introduced into Scotland and Ireland some centuries before its acceptance by the Scandinavians, yet the primitive Christian monuments of Denmark or Norway will, as works of art, bear no comparison with those which preceded them in Scotland.