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O Seberg Cart Woman Final
O Seberg Cart Woman Final
C a r t
W o m a n
–
C . E .
8 0 0
Prepared
for:
9th
Annual
Golden
Seamstress
Competition
Prepared
by:
The
Beautiful
Goat
Sewers
Team
-‐
Gwynnyd
-‐
Team
Leader
Date:
March
5
-‐6,
2010
The
Oseberg
Cart
Woman
–
Norway,
circa
800
C.E.
9th
Annual
Golden
Seamstress
Competition,
March
5-‐
6,
2010
The
Beautiful
Goat
Sewers
–
Team
Leader
–
Baroness
Gwynnyd
Team
Members:
Mistress
Rhonwen,
Mistress
GraziaGeralda,
Mistress
Catherine-‐Aimée,
Lady
Catherine
of
Deva
(note
to
judges:
Grace
and
Aimee
are
Pelicans)
Introduction: The Case for the Viking Woman’s “Pleated Back Cape”
Cultural
Background
Before
Christianity,
the
Norse
people
did
not
draw
strict
dividing
lines
between
the
mundane
and
the
supernatural.2
The
kennings
of
their
language,
the
items
they
included
in
their
graves,
and
even
the
structures
of
their
elaborate
boat
burials,
created
a
“never
ending
story
based
upon
items
forming
and
reforming
compounds
with
each
other.”3
This
fluidity
of
concept
did
not
survive
into
the
Christian
era
with
its
more
rigidly
defined
areas
of
human
and
supernatural.4
The
religion
of
the
Norse
area
in
the
Viking
Age,
especially
that
concerned
with
the
cult
of
Ó∂inn
and
the
ritual,
called
sei∂r,
of
acquiring
knowledge
and
control
of
both
the
natural
and
supernatural
world,
can
be
described
as
form
of
shamanism.5
“In
addition
to
Ó∂inn
himself,
there
are
also
a
great
many
human
figures
who
are
represented
as
performing
sei∂r,
of
whom
the
best
known
are
the
völur
(sing.
völva)
women
skilled
in
clairvoyance
and
the
prediction
of
future
events.”6
There
are
also
fifteen
other
terms
for
female
shamans
or
sorcerers
used
in
the
Elder
Edda
and
from
other
sources.7
Most
of
these
terms
have
been
interpreted
as
having
negative
or
evil
connotations,
but
they
also
date
to
the
13th
Century
and
the
Christian
era
when
the
practitioners
of
sei∂r
were
probably
discredited
and
no
longer
part
of
the
everyday
culture.8
1
Oseberg
Cart
in
Ewing,
Thor,
Viking
Clothing,
pg
46
2 Gerds, Marcus, Old Norse Religion in Long Term Perspective: Origins, Changes and Interactions, “Scandinavian Burial Rites
on
the
Southern
Baltic
Coast:
Boat
Graves
in
Cemeteries
of
Early
Medieval
Trading
Places”,
pg
157,
Nordic
Academic
Press
(December
1,
2006),
ISBN-‐13:
978-‐9189116818
3
Herschend,
Frands,
“Ship
Grave
Hall
Passage
–
the
Oseberg
monument
as
compound
meaning”:
Uppsala
University,
pg.
150;
http://www.arts.usyd.edu.au/medieval/saga/pdf/142-‐herschend.pdf
4
ibid
5
Price,
Neil,
“The
Archaeology
of
Sei∂r:Circumpolar
Traditions
in
Viking
Pre-‐Christian
Religion”:
ISSN
1519-‐9053,
pg
110;http://www.brathair.com/revista/numeros/04.02.2004/archaeology_seidr.pdf
6
ibid,
pg
111
In
general,
then,
in
the
Viking
Age
there
existed
a
class
of
respected,
high-‐status
women,
who
may
or
may
not
have
been
considered
royal,
and
who
performed
many
societal
functions,
including
everything
from
divination,
to
cursing,
to
giving
good
luck,
to
murder,
to
intercession
with
the
gods,
to
providing
protection
from
enemy
sorcerers.12
Therefore,
it
is
reasonable
to
project
that
images
carved
at
the
time
would
be
depicted
as
wearing
clothing
consistent
at
some
level
with
9th
century
local
cultural
norms.
They
are
found
carved
on
runestones,
as
small
silver
amulets,
in
the
elaborate
woodcarving
on
a
wagon
found
in
a
burial
site
in
Oseberg,
Norway
on
tapestry
fragments,
some
also
found
in
the
ship
grave
at
Oseberg,
and
elsewhere.
In
these
contexts
they
have
historically
been
identified
as
being
valkyries
welcoming
warriors
to
Valhalla,
or
goddesses,
usually
Freya
or
Frigg.13
Margaret
Clunies
Ross
asserts
in
her
paper
“Stylistic
and
generic
definers
of
the
Old
Norse
skaldic
ekphrasis:”14
We
know,
from
the
material
remains
in
the
Oseberg
burial
complex
of
c.
834,6
that
local
elites
in
the
Oslo
fjord
area
were
using
certain
kinds
of
figural
decoration
in
the
early
ninth
century,
as
exemplified
by
the
decoration
of
wooden
objects,
especially
the
waggon
and,
9
Britannica
Concise
Encyclopedia:
Valkyrie
In
Germanic
religion,
any
of
a
group
of
maidens
sent
by
Odin
to
select
slain
warriors
worthy
of
a
place
in
Valhalla.
…
According
to
various
myths,
they
were
either
purely
supernatural
or
human
with
supernatural
powers;
10
Völundarkviða,
"they
were
valkyries".
Two,
daughters
of
King
Hlödvér,
…
the
third,
daughter
of
Kjárr
of
Valland,
also
in
Helgakviða
Hjörvarðssonar,
this
valkyrie
is
detailed
later
in
a
prose
narrative
as
Sváva,
king
Eylimi's
daughter
also
Helgakviða
Hundingsbana
II,
The
narrative
says
that
Sigrún,
daughter
of
King
Högni,
is
"a
valkyrie
and
rode
through
air
and
sea"
http://www.answers.com/topic/valkyrie
11
MacLeod,
Mindy;
Mees,
Bernard
(2006).
Runic
Amulets
and
Magic
Objects.
Boydell
Press.
ISBN
1-‐84383-‐205-‐4
https://www.dur.ac.uk/medieval.www/sagaconf/cluniesrossekphrasis.pdf
Page
4
of
37
The
Oseberg
Cart
Woman
–
Norway,
circa
800
C.E.
more
particularly,
the
textiles
found
in
the
burial
chamber
.The
processional
and
group
scenes
depicted
on
the
Oseberg
tapestry
friezes
have
a
general
resemblance…
to
certain
kinds
of
figural
subject
depicted
in
skaldic
ekphrasis.15
That
is,
the
carvings
tell
the
same
kind
of
stories
that
are
told
in
the
sagas
and
are
peopled
by
the
same
characters,
who
might
very
well
have
been
present
at
the
recitation.
Exphrasis,
one
of
the
techniques
of
highly
respected
skalds,
was
to
give
an
extempore
praise
poem
of
an
object
in
the
Hall,
using
kennings
and
other
symbolic
word
pictures,
to
describe
the
existing
object
or
person
in
supernatural
and
poetic
terms.16
She
also
argues
that
the
sagas’
stylized
verbal
descriptions
are
of
familiar
pictorial
subjects
of
specific
legend
or
myths
that
would
have
been
known
and
recognized
by
the
hearers.17
19
There
are
several
small
statuettes
in
silver
of
a
“female
figure”
usually
identified
as
a
valkyrie
“but
they
may
equally
depict
völur
or
any
number
of
female
supernatural
beings.”20
The
name
“Valkyrie
figures”
is
given
to
the
whole
class
of
small
silver
amulets
in
the
form
of
females
found
during
the
Viking
era21,
but
this
is
a
modern
designation
and
does
not
necessarily
mean
they
were
considered
to
be
valkyries
at
the
time
they
were
incurrent
usage.
15
ibid,
pg
2
16 ibid, pg 5
“The verses describe the richly ornamented axe, which does not appear to have figural images on it (in this respect comparable to
Egils saga’s account of the shield Einarr skálaglamm is said to have given him). Perhaps to compensate for the absence of
images, Einarr develops a strong narrative continuity between verses through his use of elaborately varied kennings for gold
which refer to a single myth, that of the goddess Freyja’s weeping tears of gold for her long-absent husband Óðr (probably
Óðinn).”
17
ibid,
page
1-‐2
18 ibid, pg 8 ,
21 http://www.answers.com/topic/valkyrie
23
Many
carved
runestones
show
a
female
figure,
with
a
pleated
cape
of
some
kind
under
a
plain
cape,
handing
a
drinking
horn
to
a
male
figure
as
he
is
welcomed
into
Valhalla.
Sometimes
the
horn
is
being
handed
to
an
Ó∂inn
figure
riding
a
multi-‐legged
steed,
and
sometimes
it
is
to
a
man
on
a
normal
horse.
24 25
There
is
a
female
figure
as
part
of
an
elaborate
carving
on
the
wooden
side
panel
of
a
cart
found
in
the
spectacular
ship
grave
at
Oseberg.
The
woman
is
intervening
in
a
battle
scene,
as
she
stops
a
man
on
foot
from
knifing
a
man
on
horseback.
This
is
very
consistent
with
the
activity
of
a
völva.
26
22
Duczko,
Wladyslaw;
Viking
Rus:
studies
on
the
presence
of
Scandinavians
in
Eastern
Europe,
pg
108
–
http://books.google.com/books?id=hEawXSP4AVwC
23
Silver
figurine-‐
Tuna,
Sweden
http://www.pvv.ntnu.no/~hmg/lrp/kostyme/viking/v-‐k-‐underkjole.html
h/bild_broa_halla_a1.jpg
Page
6
of
37
The
Oseberg
Cart
Woman
–
Norway,
circa
800
C.E.
The
basic
style
the
woman
is
wearing
is
one
that
was
in
use
for
a
long
time.
There
are
gold
foils,
called
guldgubbar,
sometimes
found
buried
in
with
house
foundations,
that
show
the
same
basic
garments
dating
from
the
Merovingian
period
(6th
to
8th
Centuries).27
These,
like
the
later
Valkyrie
figurines,
were
struck
from
molds
and
existed
in
multiple
copies.
Many
of
the
female
forms
are
enveloped
in
a
cloak
that
is
pleated
all
the
way
around.
Notice
the
upraised,
pointed
chin
on
the
figure
on
the
right
that
is
also
characteristic
of
the
carving
on
the
Oseberg
cart
figure.
28 29
Compare,
below,
the
woman
on
the
left
with
a
similarly
dressed
female
from
the
Oseberg
tapestry.
Other
than
the
appearance
that
the
woma
n
on
the
left
has
her
arm
showing,
and
the
woman
from
the
tapestry
dress
is
long
enough
to
hide
her
feet,
the
basic
shapes
look
quite
alike.
30 31
26
http://www.bownet.org/jvulgamore/vikings/more_pictures_of_the_cart.htm
27 Watt, Margrethe; Continuity for Centuries, “The Gold-‐Figure Foils (“Guldgubbar”) from Uppåkra”, pg 167;
http://www.uppakra.se/docs/uppakra10/U10_06.pdf
28
ibid;
pg
189
31 http://www.gelfling.dds.nl/viking women.html
Page
7
of
37
The
Oseberg
Cart
Woman
–
Norway,
circa
800
C.E.
Reconstructions
One
of
the
most
interesting
points
about
the
woman
carved
onto
the
Oseberg
cart
is
that
she
is
not
wearing
an
overcloak
that
hides
the
details
of
her
upper
body.
But
what,
exactly,
is
she
wearing?
Re-‐enactor
overview
sites
such
as
“The
Vikings:
Saxon,
Norman,
Celtic
and
Viking
Reenactments”32
casually
throw
out
the
information
that
“a
floor
length
pleated
train”
was
often
an
integral
part
of
the
standard
Viking
woman’s
outfit.
However,
while
they
give
detailed
drawings
and
suggestions
on
how
to
make
most
of
the
other
pieces
of
clothing,
there
are
no
clues
as
to
the
shaping
of
this
train
or
any
suggestions
on
how
to
control
the
pleats.
SCA-‐specific
sites
are
even
less
forthcoming.
Mistress
Thora’s
(Carolyn
Priest-‐Dorman)
extremely
well
respected
and
researched,
“Viking
Resources
for
the
Re-‐enactor”33
focuses
on
reconstructions
from
fragments
recovered
from
inhumations
and
contains
no
mention
of
“back
capes”
or
“floor-‐
length,
pleated
trains”
at
all.
One
archaeologist,
Annika
Larsson,
has
recently
(2008)
proposed
a
trained
reconstruction
from
grave
finds
in
Birka
and
Psov.
Her
reconstruction,
oddly,
is
neither
pleated
nor
hung
from
the
shoulders.34
With
a
shawl
over
the
top
it
does
bear
a
passing
resemblance
to
the
pictorial
representations35
but
this
reconstruction
has
other
difficulties
that
make
it
problematical.36
Still,
while
nearly
every
pictorial
representation
of
Viking
women
that
exists
shows
females
figures
in
some
form
of
trailing,
probably
pleated
garment,
the
SCA
versions
of
Viking
garb
do
not
generally
incorporate
them.
Some
of
this
can
be
laid
at
the
feet
of
what
has
survived
in
graves.
Even
when
textile
remains
are
found,
the
pieces
are
usually
fragmentary
and
seldom
large
enough
to
give
a
sense
of
what
the
garment
they
are
from
looked
like.
Piecing
together
information
from
many
graves
–
sleeve
cap
from
one
find,
hangerok37
seams
from
another,
etc.
–
there
has
emerged
a
consensus
that
does
not
include
any
pleated
32
http://www.vikingsonline.org.uk/resources/articles/dress.htm
33 http://www.cs.vassar.edu/~capriest/vikresource.html
34 http://news.nationalgeographic.com/news/2008/02/080227-‐viking-‐picture.html
Site
also
contains
much
good
discussion
about
difficulties
with
other
parts
of
this
reconstruction
not
applicable
to
this
argument.
36
The
chief
difficulty
I
see
is
that
she
claims
the
brooches
were
worn
on
the
point
of
the
breast.
On
other
body
types,
such
as
mine,
that’s
still
at
up
at
arm-‐pit
level
and
not
just
above
my
waist,
making
it
not
a
“skirt”
as
shown,
and
negating
most
of
her
other
claims
for
placement
of
the
jewelry
and
shape
of
the
fabric.
37
Hangerock
– Outer apron-like garment worn over ankle length wrap. http://paws.wcu.edu/bgastle/students/Gardner-Peace-
Weaver-Thesis.pdf
Page
8
of
37
The
Oseberg
Cart
Woman
–
Norway,
circa
800
C.E.
garments,
or
has
tiny
pleats
only
on
the
serk
or
undertunic,38
or
along
the
top
of
the
hangerok
front.39
However, besides the pictorial, there is some evidence for a backcloth.
In
Thor
Ewing’s
book
on
Viking
Clothing,
he
cites
a
find
from
Birka
grave
Bj
824
where
“these
silver
braids
were
clearly
used
as
trim
for
a
backcloth,
suspended
from
the
oval
brooches.”40
Flemming
Bau
always
argued
that
some
of
the
double
loops
found
on
the
brooches
might
suspend
a
backcloth
or
train.41
Ewing
suggests
that
the
backcloth
might
be
as
simple
as
a
half-‐
circle
“slae∂r
pushed
back
over
the
shoulders
and
hanging
in
folds.”42
That
arrangement
looks
like
this:43
This
does
not
allow
for
the
crisp
arrangement
of
pleats
at
the
sides
and
curving
under
the
front
panel
as
is
shown
on
the
Oseberg
cart
carving.
(see
illustration
at
the
start
of
the
article)
Even
belted,
it
is
difficult
to
impossible
to
make
pleats
that
hang
forward
(lapping
under
the
front
garment
panel)
with
this
arrangement.
Since
the
basic
style
survived
for
the
duration
of
the
Viking
period
and
across
a
variety
of
places,
the
pushed-‐back
half-‐circle
may
be
what
is
worn
under
some
of
the
varieties
of
this
style,
but
the
Oseberg
cart
carving
shows
something
different.
38
“underdress
(or
"serk"
as
the
Viking
poem
Rígsþula
seems
to
call
it)”
Hilde
Thunem
http://www.pvv.ntnu.no/~hmg/lrp/kostyme/viking/v-‐k-‐underkjole.html
39
op
cit,
Ewing,
pg
32,
also
color
plate
4
The
man
shown
here,
as
well
as
the
men
carved
on
the
panel
with
the
female
figure,
are
clearly
wearing
what
is
commonly
interpreted
as
typical
men’s
garments
as
determined
from
inhumation
finds45.
There
is
no
reason
why
pleats
that
are
carved
as
crisp,
neat
and
lying
under
a
front
panel
would
not
have
been
seen
on
real
women
in
that
arrangement.
Is
it
a
skirt?
There
is
some
evidence
for
skirts.
There
is
a
runestone
in
Garde
Bote,
Sweden
that
shows
a
row
of
hanged
women
who,
according
to
Ewing
are
wearing
skirts.46
44
Ettlinger,
Ellen;
“The
Mythological
Relief
of
the
Oseberg
Wagon
found
in
Southern
Norway,”
Folklore,
Vol
67,
No
1
http://www.cs.vassar.edu/~capriest/mensgarb.html
46
op
cit,
Ewing,
pg
49
However,
the
picture
is
sketchy
and
might
as
easily
show
belted
backcloths
or
capes,
as
is
shown
more
clearly
on
the
Oseberg
cart
carving.
The
image,
on
the
left,
has
a
belt,
but
there
is
no
evidence
of
bunching
around
the
waist,
which
would
indicate
pleated
fabric
behind
the
belt;
the
line
is
smooth.
The
völur,
who
are
the
likeliest
women
to
be
pictured,
were
not
a
homogenous
group.
They
had
many,
different,
specialized
functions
in
Viking
Age
society49.
As
far
as
can
be
ascertained,
there
is
no
reason
to
believe
that
they
all
dressed
alike.
The
outfit
consists
of
the
following
pieces.
Each
piece
has
its
own
section
following
this
overview,
and
more
information
on
how
these
choices
were
made
can
be
found
in
the
research
binders.
1. The
wool
and
linen
for
the
cape,
serk
and
the
leggings
was
dyed
blue
in
a
shade
obtainable
by
using
woad.
There
is
evidence
that
blue
cloth
was
commonly
worn
in
the
Viking
period,
especially
in
Norway.
47
op
cit,
Price,
pg
15
When
reading
the
sagas,
characters
are
sometimes
referred
to
as
i
litklæðum;
wearing
“colored
clothing”.50
Undyed
cloth
would
certainly
have
been
more
common,
and
it
has
been
suggested
that
wearing
dyed
clothing
was
not
only
an
indicator
of
the
wealth
of
the
character,
but
also
of
the
person’s
intensity
of
purpose.51
When
Valla-‐Ljótr sets
out
determined
on
vengeance,
he
doffs
his
everyday
svartr,
black,
kirtle
and
puts
on
his
good
one
dyed
blár,
blue,
to
mark
the
ritual
significance
of
the
act.
It
is
not
mere
killing
he
is
set
on,
but
a
deliberate
murder
for
a
specific
purpose.52
Although
many
colors
could
be
obtained,
the
great
preponderance
of
colored
cloth
in
Scandinavia
in
this
period
was
dyed
blue.53
In
some
Irish
writings
of
the
time,
the
invading
Vikings
are
called
gormglas,
which
means
“blue-‐green.54”
Blue
pigment,
indigotin
or
indigo,
can
be
obtained
from
woad
(Isatis
tinctorium),
a
plant
that
grows
easily
in
Scandinavia
and
woad
leaves
were
found
locked
in
a
chest
in
the
Oseberg
burial.55
In
reconstructing
the
Oseberg
cart
woman’s
dress,
therefore,
the
base
color
of
the
wool
pleated
cape
is
an
indigotin
blue
that
could
have
been
obtained
from
woad.56
The
linen
serk
is
a
lighter
shade
of
the
same
color,
because
linen
does
not
achieve
the
same
intensity
of
color
using
natural
dyes.
The
trim
colors
are
red,
blue,
and
yellow.
True
red,
or
scarlet,
could
be
obtained
from
kermes,
but
would
have
been
imported
into
Scandinavia,
either
as
a
dye
or
on
pre-‐dyed
fabric
or
thread.57
Yellow
could
be
obtained
from
several
plants,
including
a
still
unidentified
one
called
“Yellow
X.”58
Silk
thread
dyed
in
red
and
yellow,
which
would
have
been
imported,
is
used
for
the
braid
that
trims
the
seams
of
the
serk
and
for
the
embroidery
motifs
on
the
front
panel.
Silk
treads
were
often
used
for
embroidery,
and
an
example
was
found
in
the
Oseberg
burial.59
50
Ewing,
Thor,
“‘í
litklæðum’
–
Coloured
Clothes
in
Medieval
Scandinavian
Literature
and
Archaeology”;
pg
1,
http://www.dur.ac.uk/medieval.www/sagaconf/ewing.htm
-‐
1
51
ibid,
pg.
4
52 ibid, pg 4
53 ibid. pg 4
54 ibid. pg 2
56 The team attempted to dye the fabric using woad. For a discussion of the attempt, see the accompanying
http://www.cs.vassar.edu/~capriest/vikdyes.html
58
ibid.
http://www.forest.gen.nz/Medieval/articles/Oseberg/textiles/TEXTILE.HTM
60
At
one
Chinese
herb
store,
the
proprietress
initially
refused
to
sell
me
a
pound
of
Da
Qing
Ye
for
a
test
run,
repeatedly
assuring
me
it
was
“Too
much!
Too
much
not
good
for
you!”
When
I
finally
convinced
her
that
I
intended
to
use
the
plant
as
a
dye
and
not
a
medicine,
she
shook
her
head
at
the
follies
of
Americans
and
sold
it
to
me.
61
http://www.1stchineseherbs.com/da_qing_ye.html
Ankle
boots
Six
shoes
were
found
in
the
Oseberg
ship
burial.
This
pair
is
thought
to
belong
to
the
older
of
the
two
women
in
the
burial.
62
This
has
been
reconstructed
by
I.
Marc
Carlson63
as
The
pattern
was
blown
up
to
size,
and
fitted
to
the
model’s
feet
by
Mistress
Grazia.
The
leather
chosen
is
a
dark
purple-‐black
cow-‐hide.
It
is
sewn
using
stabbing
or
stitching64
with
waxed,
black
linen
thread.
For
stability
on
modern
floors,
the
sole
was
sewn
on
rough
side
out
62
http://www.aftenposten.no/english/local/article1826974.ece?service=bildeviser&nr=1&felt=brodtekst
63Carlson, I. Mark,: Footwear of the Middle Ages -‐ Historical Shoe Designs/Number 50, . Copyright 1996;
http://www.personal.utulsa.edu/~marc-‐carlson/shoe/SHOES/SHOE50.HTM
64
ibid.
The
hole
goes
in
one
side
and
comes
out
the
other.
Note
that
this
is
"stabbing"
if
done
with
a
straight
awl,
and
"stitching"
if
done
with
either
a
straight
or
curved
awl.
http://www.personal.utulsa.edu/~marc-‐
carlson/shoe/STITCH.HTM
65
Flinn,
David,
“Staying
Warm
When
It's
Cold
and
Wet”,
Alpine
Journal.org,
2010,
http://www.alpinejournal.org/campfire/skiing-‐stories/9-‐staying-‐warm-‐when-‐its-‐cold-‐and-‐wet
66
http://www.ewe2you.com/bootlnrs.html
67 http://www.gfwsheep.com/felting/felt.html
Nålebinded
socks
Nålebinding
is
a
thread-‐interlacing
technique
known
from
several
examples
around
the
Scandinavian
area.68
Short
pieces
of
yarn
are
threaded
onto
a
blunt
needle,
twisted
and
woven
into
patterns.
The
socks
were
made
in
medium-‐weight,
single
ply
wool
in
a
natural
color.
Single-‐ply
wool
was
chosen
because
it
makes
it
easy
to
felt
the
ends
of
the
threads
together
eliminating
the
need
for
knots
or
weaving
in
the
ends
of
the
many
threads
needed.
The
stitch
used
is
called
“Oslo”
by
Larry
Schmitt,
in
Nordland's
notation
it
is
4[12].
Hansen's
notation
calls
this
stitch
UO/UOO
F1.69
According
to
Carolyn
Priest-‐Dorman,
it
is
a
commonly
occurring
stitch
in
Viking
finds,
though
the
finds
are
limited
to
mittens.70
Since
few
shoe-‐liners
or
socks
have
ever
been
found,
the
current
socks/shoe-‐liners
were
made
with
a
stitch
that
was
known
to
be
used.
The
socks
were
constructed
using
techniques
published
by
Shelagh
Lewins,
using
“heel
type
E”
based
on
“traditional
Scandinavian
methods”.
“Heel
Type
C”,
based
on
observations
of
the
Jorvik
sock,71
which
is
one
of
the
only
surviving,
nearly
complete
socks
from
the
period,
was
used
for
a
prototype
(unfelted
and
felted
below),
but
proved
unsatisfactory
because
of
the
low
profile.
Under
ankle-‐high
boots,
a
higher
sock
was
preferred.
72
As
each
sock
takes
approximately
three
hours
to
nålebind,
the
socks
were
begun
in
advance
but
finished
and
felted
on-‐site
using
a
hot
water
technique.
68
Priest-‐Dorman,
Carolyn;
Nålebinding
Techniques
in
the
Viking
Age;
2001;
http://www.cs.vassar.edu/~capriest/nalebind.html
69
ibid.
70 ibid.
http://www.shelaghlewins.com/reenactment/naalbinding/sock_construction.htm
72
http://www.yorkarchaeology.co.uk/secrets/vikindrs.htm
There
is
no
archeological
evidence
as
to
what
lower
limb
covering
for
women
might
have
been,
and
only
a
few
fragmentary
remains
for
men73.
However,
the
lady
on
the
cart
carving
seems
to
show
narrow
coverings
of
some
kind
on
the
legs
and
for
comfort
it
was
thought
desirable.
Therefore,
leggings
were
made
of
linen
in
a
pattern
with
a
crotch
gusset
formed
the
same
way
as
the
underarm
gusset
in
the
serk:
narrow
towards
the
ankles
and
widening
at
the
to
of
the
thighs.
The
pants
were
constructed
with
a
drawstring
at
the
waist.
73
op
cit,
Priest-‐Dorman,
Carolyn,
http://www.cs.vassar.edu/~capriest/mensgarb.html
The
tie
was
woven
on-‐site
from
linen
cord
in
a
finger-‐loop
braiding
technique.
The
ideal
outcome
is
a
round
cord.
What
exact
pattern
is
used
will
probably
be
determined
on
site
when
it
is
made.
Based
on
the
grooves
carved
into
the
shoulders
-‐the
carver
used
that
rounded
groove
pattern
on
the
top
of
every
limb,
including
the
animals
–the
sleeves
are
described
as
“loose,
linen”
by
Ewing.75
The
pattern
chosen
is
from
a
find
in
Eura,
Finland,
which
gives
a
loose,
full
shoulder
and
still
a
slightly
shaped
body.76
77
The
crucial
measurements
for
proper
fit
are
taken
across
the
bustline
from
the
armscye
to
armscye
and
from
the
point
of
the
shoulder
to
the
position
of
the
underarm
seam.
The
layout
shown
works
best
with
60”
wide
fabric
and
measurements
for
a
busty
woman.
The
actual
cutting
for
the
model
is
done
on
30”
wide
fabric
in
longer
yardage.
The
layout
we
used
gives
three
seams
under
each
arm,
rather
than
two
under
one
and
three
under
the
other
as
in
the
layout
shown.
Because
textiles
are
preserved
usually
in
small
fragments,
it
is
nearly
impossible
to
determine
a
“normal”
width
for
fabric
woven
in
the
9th
Century,
therefore
we
used
the
most
efficient
layout
that
gave
the
measurements
we
needed.
The
linen
was
originally
bleached,
but
dyed,
using
commercial
dyes,
to
approximate
the
color
of
the
test
runs
of
woad
dyed
linen
samples.
The
serk
is
made
to
have
the
hem
fall
just
below
the
knees.
74
op
cit,
Ewing,
pg
57
“The
term
serkr,
then,
is
possibly
equivalent
to
Latin
tunica.”
Women.pdf
Carolyn
Priest-‐Dorman
states
that
“Seams
were
also
decorated
in
some
cases
with
narrow
braids
or
cords
(about
1mm
wide):
the
braids
were
sewn
down
on
the
outside
of
the
garment
over
the
line
of
the
seam.”78
The
braids
for
the
serk
were
finger-‐loop
braided
from
red
and
yellow
silk
thread.
The
thread
would
have
been
imported
in
period.
The
pattern
used
is
a
“five
loop
basic
braid”
that
makes
a
chevron
pattern79.
Due
to
the
limitations
of
the
style
of
braid
with
only
one
worker,
it
was
woven
in
pieces
averaging
about
a
yard
long.
These
are
stitched
to
the
serk
using
fine
silk
thread.
A
few
braid
pieces
were
done
on
site.
78
Dorman,
Carolyn
Priest;
“Viking
Tunic
Construction”,
1997;
http://www.cs.vassar.edu/~capriest/viktunic.html
79
Swales,
Lois
&
Kuhn-‐Williams,
Zoe;
“Fingerloop
Braids”,
(website
of
“Compleat
Anachronist”
on
the
same
80 81
Two
bands
were
woven
for
this
project,
using
a
geometric
pattern.
One
in
three
shades
of
fine
plied
wool
in
true
blue,
red
and
yellow,
one
in
linen
thread
in
natural,
light
yellow
and
light
blue.
The
wool
braid
edges
the
top
of
the
pleated
back
cape
and
controls
the
pleats.
The
linen
band
was
applied
to
the
cuffs
and
neckline
of
the
serk
for
decoration.
80
Ingstad,
Anne
Stine,
“The
textiles
in
the
Oseberg
ship”
[Illustration
page
187.
Tabletweaving
as
found
in
the
grave.]; http://www.forest.gen.nz/Medieval/articles/Oseberg/textiles/TEXTILE.HTM
81 ibid. [Fragment of woven braid. About double size. Water colour after drawing by Sofie Kraft.]
The
main
difficulty
in
any
pleated
garment
is
controlling
the
pleats.
The
fabric
chosen
is
a
fine
wool,
originally
in
a
light
grey
but
overdyed
with
blue82,
woven
in
a
chevron
pattern.
Because
it
came
in
60”
width83,
the
cape
consists
of
one
full-‐width
back
panel,
pleated
across
the
top
at
the
shoulders
with
the
pleats
held
in
place
by
being
sewn
to
card-‐woven
braid
trim
along
the
shoulder
edge.
Another
full
width
of
the
fabric
was
cut
in
half
along
the
diagonal.
The
resulting
triangular
pieces
were
sewn,
bias
to
selvage,
along
the
sides
of
the
pleated
panel84.
The
garment
was
then
tried
on,
the
pleats
at
the
side
arranged
by
hand,
and
finally
pressed
into
place.
82
The
original
plan
called
for
woad
dying
the
fabric,
but
was
unable
to
be
completed.
See
the
dye
section
for
details.
The
wool
was
dyed
with
commercial
indigotin
based
dye.
83
Had
it
come
in
narrower
width,
different
design
decisions
might
have
been
made.
The
front
panel
of
the
woman’s
outfit
is
carved
with
deep
crosshatchings
that
appear
nowhere
else
on
the
cart.
What
type
of
decoration
or
weave-‐type
they
represent
is
unknowable.
However,
some
decoration
was
thought
desirable
to
show
high
status.
Needle
embroidery
was
not
a
technique
much
practiced
in
the
area85,
though
examples,
thought
to
be
imported,
were
found
in
the
Oseberg
burial86.
Three
roundels
of
silk
embroidery
with
animal
motifs
are
planned
to
be
appliquéd
onto
the
front
panel.
A
“ring
chain”
motif,
embroidered
in
silk
thread
onto
a
silk
ground,
is
appliquéd
along
the
top
edge
of
the
panel.
87
85
Priest-‐Dorman,
Carolyn;
“Viking
Embroidery
Stitches
and
Motifs,”
1997,
http://www.cs.vassar.edu/~capriest/vikembroid.html
86
op
cit,
Ingstad,
“The
other
embroidery
is
probably
a
plant
motif
executed
in
silk
thread,
mostly
in
stemstitch
that
covers
the
entire
surface.
See
ill
on
page
180,
These
embroideries
are
believed
to
be
imported
from
the
British
Isles.”
87
http://web.missouri.edu/~rls555/SCA/research/gokbkpk/gokbkpk.htm
The
carving
shows
the
woman
wearing
at
least
two
necklaces,
one
long
and
one
short
depending
from
the
brooches.
Beads
from
this
period
were
made
from
glass,
metal,
horn,
bone,
crystal,
various
minerals
and
gems,
and
even
limestone.88
Typical
shapes
of
Viking
era
glass
beads
are:
89
In
this
reconstruction,
one
of
the
necklaces
contains
antique
Russian
beads
that
date
to
the
11th
-‐12th
century90
These
were
made
into
a
necklace
with
the
addition
of
semi-‐precious
stone
beads
with
modern
clasps
on
modern
wire.
The
other
necklace
was
made
on-‐site
and
strung
on
linen
cord.
The
beads
are
glass,
semi-‐
precious
stones
and
metal.
The
beads
were
purchased.
88
Carlsson,
Dan,
“Viking
Beads
from
Gotland
and
Sweden”;
ArkeoDoc,
1997,
http://www.scribd.com/doc/8493824/VikingBeads
89
ibid.
Belt
hardware
is
rarely
found
in
female
graves,
but
it
is
not
unknown.91
However,
looking
at
the
outfit
being
reconstructed,
though
the
belt
is
carved
with
a
raised
and
textured
surface,
there
is
no
buckle
or
strap
end
showing
in
the
carving.
The
decision
was
made,
therefore,
to
make
the
belt
out
of
leather
and
wool,
which
would
leave,
few,
if
any,
traces
in
a
burial
site.
There
is
a
saga
reference
to
a
woman,
called
a
prophetess,
probably
a
volva,
wearing
“a
soft
belt.”92
The
leather
used
for
this
project’s
belt
is
vegetable-‐dyed
red
and
black
leather
3mm
cording.
The
options
for
the
belt
were
deeper,
more
authentic
color
on
round
leather
cording
that
would
be
easier
to
braid,
or,
presumably,
more
authentic
leather
in
3
mm
wide
strips,
but
which
came
in
a
very
unsatisfactory
red,
and
would
be
more
difficult
to
braid.
Due
to
the
time
constraints
of
the
contest,
the
more
authentic
color
in
the
easier
material
was
selected.
The
wool
used
was
taken
from
stock
already
on
hand.
It
had
previously
been
dyed
yellow
with
osage
orange
and
hand
spun.
The
resulting
thread
was
plied
twice
to
make
a
thicker,
four-‐ply
cord
the
same
diameter
as
the
leather.
The
difficulty
of
the
braiding
pattern
will
be
decided
on-‐site,
and
dependent
on
how
quickly
the
other
pieces
of
the
outfit
are
being
completed.
91
Lucas,
Rebecca,
“Belts
in
Norse
Female
Graves;”
2009,
http://www.medieval-‐baltic.us/vikbuckle.html
92 ibid. “Saga of Eric the Red” Thorbjorg the prophetess was described as wearing a soft belt and there (on it)
was
a
large
purse
of
skin
(Own
translation,
referring
to
Cleasby
and
Vigfusson,
1874).
(Hon
hafði
um
sik
hnjóskulinda,
ok
var
þar
á
skjóðupungr
mikill...)
(Gordon
and
Tayler,
1956).
Many
of
the
female
Viking
images
show
a
wrapped
and
tied
head
covering
with
ends
long
enough
to
hang
down
behind.
93
The
head-‐wrap
is
made
from
linen,
in
a
triangle
with
long
ends.
It
is
“scrunched”
to
pleat
it
and
tied
around
the
braid/bun
at
the
nape
of
the
neck.
93
http://www.gelfling.dds.nl/viking
women.html
1. Using
4
oz
leaves
poured
1
gallon
of
boiling
water
over
them
2. Let
the
leaves
set
for
1
hour
–
the
liquid
was
a
sherry
color
which
is
the
color
it
should
be
3. The
book
“Color”
said
that
the
leaves
should
stay
in
when
they
are
dried
so
we
left
the
leaves
in
the
dye
bath
4. During
all
of
the
following
steps
the
dye
bath
needed
to
stay
a
constant
temperature
of
120F
5. We
then
added
2
tablespoons
of
washing
soda
(we
did
not
want
to
use
urine
as
they
did
in
the
middle
ages)
–
the
dye
bath
had
to
be
alkaline
(PH
9)
–
we
had
no
test
strips
so
we
guessed
6. Because
we
were
using
dried
leaves
–
the
book
“Color”
said
not
to
do
the
step
where
you
whip
air
into
the
dye
bath
which
changes
the
color
of
the
dye
bath
to
blue
7. We
then
added
1
oz
of
Rit
color
remover
–
the
dye
does
not
attach
to
cloth
when
it
is
visible
in
the
dye
bath
8. The
dye
bath
changed
to
a
yellowish
green
color.
This
is
the
color
that
we
needed,
it
meant
that
all
of
the
blue
color
has
been
removed
9. The
dye
bath
was
then
let
sit
for
1
hour
10. When
adding
material
to
the
dye
bath
you
have
to
be
careful
because
you
do
not
want
to
add
air
into
the
dye
bath.
This
causes
it
oxidize
and
change
the
color
to
blue,
then
it
won’t
attach
to
the
cloth.
So
we
carefully
added
a
piece
of
roving
to
the
dye
batch
11. We
let
the
piece
of
roving
sit
in
the
dye
batch
for
10
minutes
and
then
took
it
out.
It
turned
a
beautiful
dark
blue.
12. We
decided
it
was
OK
to
add
a
sample
of
the
wool
cloth
that
was
a
grey
herringbone.
We
forgot
to
wet
the
cloth
before
we
added
it
to
the
dye
bath.
We
added
a
second
piece
that
we
wetted.
We
left
both
pieces
sit
in
the
dye
bath
for
10
minutes.
This
was
a
successful
run
but
the
cloth
had
the
impression
several
leaves
on
it
and
we
wanted
to
try
to
see
if
the
process
worked
as
well
or
better
with
the
leaves
taken
out.
1. Using
2
tablespoons
concentrate
poured
1
gallon
of
boiling
water
over
it
2. Let
the
dye
bath
set
for
1
hour
–
the
liquid
was
a
sherry
color,
which
is
the
color
it
should
be
3. We
left
the
concentrate
in
the
dye
bath,
there
is
no
way
we
could
take
it
out,
as
it
had
dissolved
in
the
water..
4. During
all
of
the
following
steps
the
dye
bath
needed
to
stay
a
constant
temperature
of
120F
5. We
then
added
2
tablespoons
of
washing
soda
–
the
dye
bath
had
to
be
alkaline
(PH
9)
–
we
had
no
test
strips
so
we
guessed
6. We
then
added
1
oz
of
Rit
color
remover
–
the
dye
does
not
attach
to
cloth
when
it
is
visible
in
the
dye
bath
7. The
dye
bath
changed
to
a
yellowish
color.
This
is
the
color
that
we
needed,
it
meant
that
all
of
the
blue
color
has
been
removed
8. The
dye
bath
was
then
let
sit
for
1
hour
9. When
adding
material
to
the
dye
bath
you
have
to
be
careful
because
you
do
not
want
to
add
air
into
the
dye
bath.
This
causes
it
oxidize
and
change
the
color
to
blue,
then
it
won’t
attach
to
the
cloth.
So
we
carefully
added
a
piece
of
roving
to
the
dye
batch
10. We
let
the
piece
of
roving
sit
in
the
dye
batch
for
10
minutes
and
then
took
it
out.
It
stayed
yellow.
Unfortunately
the
roving
was
accidentally
let
slip
down
the
drain,
so
there
was
no
way
to
test
if
the
color
was
fast,
and
we
had
already
discarded
the
dye
bath.
We did not get blue from the concentrate, so this was not a solution.
3rd Run – leaves, taken out (Carol, Aimee) following slightly different directions.
This
was
successful
run
and
we
did
not
have
the
spotting
on
the
wool
and
linen
from
the
leaves.
1. Using
2
tablespoons
concentrate
poured
1
gallon
of
boiling
water
over
it
2. Let
the
dye
bath
set
for
1
hour
–
the
liquid
was
a
sherry
color,
which
is
the
color
it
should
be
3. We
left
the
concentrate
in
the
dye
bath,
there
is
no
way
we
could
take
it
out,
as
it
had
dissolved
in
the
water..
4. During
all
of
the
following
steps
the
dye
bath
was
held
at
a
constant
temperature
of
120F
in
an
electric
roaster.
We
did
not
get
expect
to
get
a
blue
from
the
concentrate,
but
this
may
be
an
alternative
to
osage
orange.
A
basic
rule
of
thumb
for
a
concentrated
dye
bath
is
to
use
equal
amounts
of
dye
material
to
dye
stuff.
So
based
on
that
and
the
quantities
that
we
had
used
before
this
is
what
we
came
up
with.
The
1st
issue
we
had
is
what
you
use
to
put
that
much
stuff
in.
The
fabric
had
to
move
freely
and
be
totally
submerged.
And
all
of
the
fabric
needed
to
be
dyed
at
one
time
or
they
could
come
out
different
colors.
Cathy
donated
a
huge
aluminum
pot,
previously
used
for
feast
cooking,
to
the
effort.
Unfortunately,
dyeing
cannot
be
done
in
aluminum,
as
aluminum
is
a
mordant
and
the
color
will
not
be
true.
So
we
started
looking
at
alternatives.
For
indigo
type
dyeing
you
can
use
plastic
buckets.
We
didn’t
have
a
plastic
bucket
big
enough,
nor
could
one
be
obtained
at
short
notice
for
a
reasonable
expenditure.
We
had
roasters
that
hold
several
gallons,
but
the
cloth
would
have
had
to
be
died
in
separate
batches
and
we
worried
that
even
one
60”
x
60”
piece
of
the
fabric
would
not
have
room
to
move
freely.
In
addition,
once
they
have
been
used
for
dyeing,
it
is
recommended
that
they
not
be
used
for
food
again.
What
we
finally
decided
to
do
was
use
an
industrial
strength
garbage
bag
inside
the
aluminum
pot.
We
only
had
to
The
second
issue
was
we
were
doing
in
February
and
you
need
to
do
this
in
a
well-‐
ventilated
area,
preferably
outside.
We
used
a
garage
with
a
kerosene
heater
and
the
garage
door
partially
open.
The
third
issue
is
that
the
pot
is
so
huge
it
does
not
fit
on
a
portable
electric
burner
but
we
had
to
keep
the
temperature
at
120
degrees
in
a
cold
garage.
The
weather
hovered
just
under
the
freezing
point
that
day
and
it
often
spit
snow
or
near-‐freezing
drizzle.
The
unvented
kerosene
heater
also
contributed
to
the
bad
air
quality,
so
we
had
no
choice
but
to
keep
a
garage
door
open
three
feet
on
the
bottom
for
ventilation.
We
supported
the
huge
pot
on
two
pieces
of
wood
that
were
taller
than
the
electric
burner
and
put
the
burner
between
them
with
the
pot
on
top
of
them.
With
the
kerosene
heater
pointed
at
it,
this
did
a
wonderful
job
at
keeping
the
temperature
right
at
120F.
Final Run
We are not exactly sure why things did not work out. The possibilities are:
• The
plastic
bag
had
chemicals
that
interacted
with
the
dye
bath
• The
aluminum
pot
could
have
been
the
problem
if
it
leached
through
the
plastic
bag
• It
could
have
been
a
combination
of
the
above
two
• Our
formula
could
have
been
wrong
• Our
formula
may
not
have
worked
for
that
large
of
quantity
o Dried
woad
leaves
in
that
quantity
may
contain
more
pigment
than
was
able
to
be
removed
by
the
quantity
of
color
remover
we
had
on
hand
or
could
find
in
a
20
mile
radius
on
an
emergency
basis.
• The
liquid
may
have
been
hotter
at
the
bottom
of
the
pot
than
at
the
top
where
we
measuring
it
The
aluminum
pot
liner
was
sealed
with
the
woad
mixture
still
inside.
The
remaining
woad
leaves
had
been
steeping
in
warm
water
all
afternoon
in
the
expectation
that
the
liquid
would
be
added
to
the
bath
after
the
wool
was
removed
and
before
the
linen
was
added
to
increase
the
amount
of
pigment
available.
This
pot
was
also
sealed
and
set
aside.
We’ll
try
again
when
the
weather
warms
up!
Cultural
Background
–
Andrén,
Anders
Kristina
Jennbert,
Catharina
Raudvere,
(2006)
Old
Norse
religion
in
long-term
perspectives:
origins,
changes,
and
interactions;
Nordic
Academic
Press
-‐
google
book:
http://books.google.com/books?id=gjq6rvoIRpAC&lpg=PP1&pg=PA4
-‐
v=onepage&q=&f=false
Clunies
Ross,
Margaret
(unknown)
Stylistic
and
generic
definers
of
the
Old
Norse
skaldic
ekphrasis;
Univerisyt
of
Sydney:
https://www.dur.ac.uk/medieval.www/sagaconf/cluniesrossekphrasis.pdf
Davidson,
Hilda
Ellis
(1993)
The
Lost
Beliefs
of
Northern
Europe,
Routledge
books
-‐
google
book;
http://books.google.com/books?id=sWLVZN0H224C&printsec=frontcover&source=gbs_navlinks_s
-‐
v=onepage&q=&f=false
Duczko,
Wladyslaw
(2004)
Viking
Rus:
studies
on
the
presence
of
Scandinavians
in
Eastern
Europe
Koninklijke
Brill,
NV
-‐
google
book
:
http://books.google.com/books?id=hEawXSP4AVwC&printsec=frontcover&source=gbs_navlinks_s
-‐
v=onepage&q=&f=false
Ettlinger,
Ellen
(1976)
The
Mythological
Relief
of
the
Oseberg
Wagon
Found
in
Southern
Norway;
Folklore,
Vol.
87,
No.
1
(1976),
pp.
81-‐88:
http://www.jstor.org/stable/1259502
Gardner,
Jennifer
Michelle
(2006)
The
Peaceweaver:
Wealtheow
in
Beowulf,
Western
Carolina
University
http://paws.wcu.edu/bgastle/students/Gardner-‐Peace-‐Weaver-‐Thesis.pdf
Herschend,
Franz
(2000,
July)
Ship
grave
hall
passage
–
the
Oseberg
monument
as
compound
meaning,
11th
International
Saga
Conference:
http://www.arts.usyd.edu.au/medieval/saga/pdf/142-‐herschend.pdf
Jesch,
Judith
(1991)
Women
in
the
Viking
Age,
Boydell
Press
-‐
google
book:
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-‐
v=onepage&q=&f=false
Mortensen,
Lina
(2004)
The
'marauding
pagan
warrior
woman"
Ungendering
Civilization;
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google
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v=onepage&q=&f=false
Musset,
Lucien
(2005)
The
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google
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-‐
v=onepage&q=&f=false
Clunies
Ross,
Margaret,
Stylistic
and
generic
definers
of
the
Old
Norse
skaldic
ekphrasis,
University
of
Sydney,
https://www.dur.ac.uk/medieval.www/sagaconf/cluniesrossekphrasis.pdf
Price,
Neil
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The
Archaeology
of
the
sei∂r:
Circumpolar
Traditions
in
Pre-Christian
Religion,
University
of
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http://www.brathair.com/revista/numeros/04.02.2004/archaeology_seidr.pdf
Watt,
Margrethe
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December)
The
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Uppa_kra,
Continuity
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Broom,
Emrys
Eustace,
Sherts,
Trewes,
&
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:
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Details,
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Carlson,
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,
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carlson/cloth/stitches.htm
Christensen,
Arne
Emi,
Anne
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‘í
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–
Coloured
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in
Medieval
Scandinavian
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Muiredaich,
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note4_anchor
Lewins,
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Lucas,
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Carolyn,
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Carolyn,
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