Welcome to the British Museum in the Google Cultural Institute. Here is a selection of materials telling the story of the famous Anglo-Saxon ship burial at Sutton Hoo.
<b>The Balkans: 1800 - 1900s</b>
Communication was extremely difficult before the creation of passable roads during the interwar years. Settlements were isolated and people belonging to different ethnic, linguistic, or religious groups – Albanian and Serb, Christians and Muslims – lived in close proximity to one another in neighbouring villages.
Much of the area was formerly governed from Istanbul as part of the Turkish Ottoman Empire. Different regions secured independence from it in a series of wars in the late 1800s and early 1900s. The jewellery and dress shown in the exhibit were mostly produced in this period, during the collapse of the Ottoman Empire, and reflects the emerging nationalistic sentiment of the time.
Jewellery worn by rural, often wealthy, communities and was a crucial part of the lavish and complicated costumes worn as bridal outfits, for festive occasions, for dancing, and for daily wear.
Balkan jewellery was made professionally in a small number of centres, resulting in a similarity of types and designs across the whole area: colossal clasps, head ornaments hung with clusters of rustling pendants, or chains strung with coins and pinned across the body, to mark rites of passage, protect from evil spirits and to create a jangling accompaniment to music when dancing.
Most jewellery in the Balkans was made of a base metal alloy, largely of copper. It was always called silver. It did contain small amounts of silver but the white colour was enhanced by adding arsenic.
Because the metal has such a low silver content it could not be marked by the silversmith. This means that most Balkan jewellery is unmarked, making it impossible to say where it was made. The place names given here indicate the areas where such pieces were worn.
By contrast, textiles were made locally, varying distinctly from village to village, so that the wearer’s origin was immediately recognisable.
<b>In 'Black Lamb and Grey Falcon', Rebecca West, travelling in Macedonia in the 1930s, said of the Skopska Crna Gora region, where this chemise comes from:</b>
<i>'They wear the most dignified and beautiful dresses of any of the Balkans, gowns of coarse linen embroidered with black wool in designs using the Christian symbols, which are at once abstract (being entirely unrepresentational) and charged with passionate feeling.'</i>
She went on to describe the use of blue in garments:<i>'the effect of an inner light burning in the heart of darkness.'</i>
Rebecca West was very struck by the use of blue in such garments, describing it as giving <i>‘the effect of an inner light burning in the heart of darkness’.</i>
<b>The Sarakatsani people</b>
The Sarakatsani are a nomadic people of Greek origin living in Greece, southern Bulgaria and Macedonia (former Yugoslavia). They are Greek Orthodox Christians with their own distinctive traditions in dress, song, dance, and poetry.
Historically they spent the summer months on the mountains, returning to the plains in the winter. Since the mid-1900s the nomadic way of life with migration across state borders has been gradually abandoned. Here, three women are winding yarn outside a traditional hut.
Alexandroupolis, northern Greece
This many-layered festive costume was made from locally-spun wool and linen, as seen in the photograph on the previous page.
The pleated skirt, low-slung apron, wide cummerbund and two waistcoats, rigid with embroidery and made of wool, are worn over a long linen chemise or shift dress with embroidered sleeves. The armlets (visible below the embroidered sleeves of the dress), and leggings (not shown) complete the outfit.
The large clasps (pafti) like this were worn by married women as part of the groom’s wedding gifts. They sat well below the waist to protect the abdomen. The simple hook fastening on these round clasps allowed ease of movement.
Alexandroupolis, northern Greece
The dazzling zigzag patterns used on this belt were designed to ward off evil spirits.
<b>Wedding costume and headdress (keitsa)</b>
Pleve, North Bulgaria
This festive costume for a married woman is designed to be practical – for working in the fields in the grain growing areas of the Danubian plain in northern Bulgaria.
It is a ‘two-apron’ costume. Instead of the customary fitted over-garments, the long linen chemise or shift was covered by aprons at the front and back, and a loose sleeveless coat. The chemise hem has a row of dancing women as symbols of fertility.
<b>The young bride</b>
The elaborate embroidery, protecting the hems and openings, is full of marital symbolism for a young bride.
<b>The new bride</b>
While the motifs on the coat include the sun (right), the tree of life (left) and water pitchers (right, between the sun's rays), symbolising the ritual fetching of water as a new bride.
<b>Woman's headdress (kaitsa)</b>
End of the 19th century
The headdress is part of the woman's two-apron festive attire from the village of Komarevo, Pleven district, central north Bulgaria. Rows of Turkish coins form a huge crescent above the head, framed with bunches of wool yarn and two paper roses at each side. The bride’s hair is covered with a white silk scarf, indicating that she is married.
The white head scarf is a very important part of the costume of the young married woman. It is by the white head scarf that we distinguish between married and single women. The latter wear no head scarf. In this case the white scarf is combined with a semicircular pad which is worn under it, slightly tilted backwards and attached to a small cap. At the front it is decorated with coins. The value of the latter varies with the material status of the woman.
This necklace with its multiple hanging chains ending in enameled crescents is characteristic of western Bulgaria. The tight neckband is made of plaited silver alloy wire and fastens at the front.
Coloured glass stones are set into a cut-out metal backing. The chains are linked at the base to form a bib. The crescents with no chain at the sides are decorated with imitation enamel and are perhaps later additions.
<b>Women's head-discs (tepeluk)</b>
These hammered silver alloy discs were sewn to the top of a woman’s fez-like cap to ward off the evil eye.
They are a Muslim form, however, both are decorated with Christian subjects: the Nativity, and St George and the Dragon. St George’s Day in April was celebrated throughout the Balkans. The name tepeluk (singular) comes from the Turkish tepé (hill) because the discs are usually domed.
<b>Chain for headscarf (podbradnik)</b>
Head ornament or chin chain ('podbradnik'), copper alloy, formed of multiple chains ending in hemispherical plaques with sharp hooks and a cluster of leaf-shaped pendants, cut out and stamped with ring and dot motifs.
This silver alloy chain secures the inner
headscarf at each side, passing under the chin.
The hemispherical plaques are cast to imitate cloisonné enamel cells, and enamelled in red and green. The copper alloy contains some silver and a small amount of arsenic as a whitener.
<b>Married woman’s belt (Jakičar) from Herzegovina</b>
Formed of a stiff triple layer of leather, this belt is studded with rows of carnelians and pierced and riveted copper alloy plaques with a clasp at one side. These belts were worn from the wedding onwards.
This belt is ornamented at the front with three rows of carnelians, 41 in all, in beaded brass settings, the back is ornamented with pierced brass plaques attached with large round-headed brass rivets with a triple row of smaller white metal rivets
This belt was owned by Edith Durham, who bought it in Dubrovnik (then called Ragusa) in 1903, noting that <i>‘these belts formed part of a married woman’s wedding outfit. They were worn in Herzegovina, and in the Herzegovian side of Montenegro till about 25 or 30 years ago,’</i> that is until the 1870s.
<b>Galičnik wedding photograph</b>
One of the Museum's star pieces is a pair of complete early 20th-century wedding costumes with jewellery for a bridal couple from Galičnik, a village in the mountainous region of south-west Macedonia (the former Yugoslav Republic).
<b>Bride's costume from Galičnik</b>
This ensemble has ten separate elements. A jacket, waistcoat and outer coat create the triple opening with gold braid and buttons. The fringed sleeves belong to a long chemise worn between the jacket and the outer coat.
Red symbolised marriage, while the layers, all amuletic, were so hot that brides often fainted.
Shoes/boots/sandals xx flowers ?
The woman's costume traditionally has one hundred silver filigree buttons. In this costume there are twenty on the jacket and forty on both the inner waistcoat and the longer outer coat. The five rows of buttons are visible in the image of the complete costume.
<b>Bridal clasp (pafta) and coin-belt (nižalka)</b>
This clasp and coin-belt, gifts from the groom, were acquired with the costume. The belt jangles with Turkish coins of the late 1800s. The hooks bear the widespread double-headed eagle used in Europe and the Ottoman Empire.
<b>Galičnik bride's costume, head ornament (igla)</b>
1800 - 1900
This silver alloy forehead ornament with amuletic discs and beads was attached with hooks to a tasselled bridal headscarf. It was worn for fetching the first water for use in the bride’s new home, and later for special occasions.
The bride would don her wedding clothes for the journey on horseback to her father-in-law’s house.
<b>Man’s wedding costume</b>
This costume came from the widow of the man who wore it for their wedding in 1910. The dark red under-jacket has an inner flap across the front and is decorated with metal-thread braiding.
The trousers were made by village tailors from locally woven wool cloth.
In her book, 'St Peter’s Day in Galičnik' (1935), Olive Lodge noted a long wool sash wound round the waist, over the trousers which were <i>‘kept on by means of a narrow leather belt threaded through their tops and drawn very tightly, extremely low down, round the hips, so low it is a wonder they do not drop off.’</i>
<b>Decorated with coins</b>
The coins used in Balkan jewellery had little intrinsic value as the silver content was usually low or non-existent. They were often from other countries or were no longer in circulation as currency.
Worn throughout the Balkans as part of a man’s festive costume, the breast chain was hooked at the shoulder and secured on the opposite side, or looped over the belt. This one is hung with Bulgarian coins from 1925, probably used once they no longer had any monetary value.
<b>A coin chain (nizalka)</b>
A coin chain, a 'nizalka'. The coins are Bulgarian and Serbian, dated between 1882 and 1938, and are suspended together with filigree amulets from a heavy silver chain, and secured onto the upper sash by three decorative hooks, the central one having the Serbian royal coat of arms and the two outer made of silver filigree work. Part of the bride's dowry, and worn also on festive occasions.
This woman's scarf, worn around the waist, features dark red leaf motifs on a purple ground. With border designs comprising lines of seven-petalled blossoms, each within a circle, worked in tones of red and yellow and macrame fringing.
<b>Albanian woman's headband</b>
Late 1800 or early 1900
These long bands with stiffened tops were attached to the crown of the head and hung down to cover the plait at the back. The red cotton velvet band bears bird, crescent and sun motifs, executed in tiny metal coils and used in Muslim and Christian contexts.
To make the tiny metal coils, metal wire is wound round a thin rod to form a cylinder, which is then cut into pieces and the pieces sewn down, a technique known as purl work.
<b>Albanian slippers or outer socks</b>
These slippers were owned by the great traveller and writer on Albania, Edith Durham (1863–1944), who toured the rough and then hardly visited Balkans from the early 1900s. She championed the cause of Albania and her vivid books, especially 'High Albania' (1909), remain standard texts today.
Durham records receiving these knitted wool slippers in 1912 as a gift from Gruda tribesmen in the mountains of North Albania, ‘in return for aid to burnt-out villages’ during the First Balkan War. Two pairs of socks would be worn by men and women to protect the sole of the foot inside thin hide sandals or opanke. Inside the house the sandals were removed and the decorative over-sock formed a slipper. Here, metalwrapped silk thread is plaited or twisted and then couched (sewn down).
<b>Serbian woman’s waistcoat (jelek)</b>
This waistcoat would have been worn over a white blouse with Ottoman-style gathered silk trousers. This waistcoat is made of cotton velvet cloth decorated back and front with couched embroidery in gold- and silver coloured metal-wrapped thread, metal sequins and tiny red plastic beads. The printed cotton lining dates from the 1920s or 1930s. The flowers and leaves on the front flaps are done in purl work (see Albanian hair ornament).
<b>Serbian costume back apron (suknja)</b>
This wool back apron would have been made by women from tough goat or sheep thread. The thread is dyed in several colours and woven in stripes. The apron is then pleated and the pleats tacked in.
After baking in a warm oven the tacking is removed and the fabric bound up to retain the pleats. The apron is then sewn onto a waistband and long, thick, plaited tie cords are added.
The hem is embroidered on the inside with stylised flowers and edged with purple cotton crochet in a scalloped pattern. The apron would be tied on inside out and arranged to reveal the embroidery. The bottom two corners are pulled up and tucked under the cord at the back to create a butterfly shape. The hem embroidery then hangs down vertically. The skirt is finally firmly secured with a decorative belt.