 o'r cyfnod o'r mwygon o'r ffordd, oedd ymweld i'n eu byw i'n gweithio'r eithaf. Mae fydd e'n gweithio'r ysgol yw'r gweithio'r ymddangos yn ymweld i'r cyffredinol. Ond yma! Ym ymweld i'r cyffredinol, ymweld i'r cyffredinol ffewyd, oherwydd mae'n cyffredinol ffeydd, fod ymweld i'r cyffredinol ymweld i'r cyffredinol? Mae'r cyffredinol! Ffantastig! Fy hoffa'n cyfrif. Mae'r wych yn ddechrau ar gyfer yma yma hwnnw i'ch ei adon nhw'n gwneud o'r ffianfodd yma, ond os yw'r ffrindio'r ffianfodd a'r ddechrau'r ddechrau'r gweithio'r ffianfodd. Rydym ni'n meddwl bod y ffianfodd yng nghymru i'r ffrindio'r erbyn ar y projag ym ydw i'r ffianfodd mwysigol, Beth eisiau oes ei ddod, mae'n yn siôn, a ein bod yn gennym gweld gweithio'r blaen, mae'r cymdeithas ei wneud yn gweithio yn y pryd yn gweithio'u gw antibodies. A'u mynd i gael yn y gwirionedd o hynny'n mewn dda. Mae'n olygu hynny'n ei gwbiadio'n ei ddod yn ei scudo. ..a gwelio mewn gweithredu o'r llwy, efallai'r garnes... ..a'r rechwyn i'r hyn o'r ffordd o'r analys. Ac yw y gallai ysgol yma, gallwn ni'n mynd i'ch gael ydydd y ffeydd sy'n meddwl... ..y'r hyn o'r gwlad yn ymgylchedd, ym mwyloedd. Rwy'n cael ei wneud ymddangos ymddangos ym mwyloedd... ..y'r gweithwyr i'ch gael ei ddarparu... ..y mae'r hyn yn ymgylchedd... it was a wonderful idea to do this, I think the mainly British museum Practice scientists who are waiting out there to do it did some fantastic work. What I'm going to do is I'm going to actually give some sort of overview. It's rather a bias one in areas where I have some knowledge, but also I want to look at some of the minor materials, but also But also I just want to talk about the gold work as well and the work that has been done on that, because that is something quite special. The work that I'm going to do on the plate lock on the gold is absolutely fantastic. When I first heard this rumour because I was based in UCL and Marthyrs yn Tarys, it was a good frame just down the corridor at the time that was coordinating the work. Ydych chi'n oed yn oed bod oeddiadu'r rhan o'r ysgolion i moddyfio'r arfermog. Rydyn ni'n meddwl i'r chweithio, ond mae gennym o'r ddechrau o'r ddau. Ond mae'n oeddiadu'r arfermog o'r ddau, oes i'n grannu i gyrwch i'r wych. Mae'n golygu o'r ddau sydd ar y sgolion i'r rhan o'r ysgolion i'r rhan o'r sylfa yn y cwysig i'w gwaith yn ymwneud yn gwybod yn gwybod. A byddai i'n gweithio'r amser ac yn gweithio'r effeith. Felly mae'n... mae'n ddweud ymlaen nhw, mae'n ddweud... mae'n ddweud ymddangos ddweud ymddangos gwybod ac mae'r gwybod ymddangos gwybod. Rwy'n gweithio'n ddweud ymddangos gwybod. A dyma'r gweithio'n ddweud ymddangos gwybod ymddangos gwybod. sy'n digwydd, a bydda noton o amniolio ac yn ffordd Doingen, yn ei wneud am rhaid i'r ysgolion ymhynghori, mae yn búig i amniolio ar y cyfnod. Y cyfnod o'r llunaf i'r ystod yn ei gweithio, dylai yn twd soedd nhw ym ni fydd yn rwyng yn gweithio gwyddo, ac mae angen am y mae'r gweithio'n gweithio, a bod yn cyfnod yn ymgyrchu Mae'r gol yn rywun i chi ar y gael, ac mae'r gol yn unig o'r llai o'r cyfwyr yn gweithio. Mae'r gobl yn ei chweithio i weld y teimlo pa'r gael a'r llai o'r llai o'r cyfwyr, sy'n cymryd i'r gael deilio mewn gwirio mewn gwirio mewn gwirio mewn gwirio mewn gwirio mewn gwirio. a chywir nes yw yma, hintwch gyda'r trywysau ar y flwyddyn nhw'n yslyw'r gwahaniaeth ychydig i fod yn cydweithio cerddysol a'r mynd i'n cael pan wneud cydweithio'ch sy'n ystod. Mae'n cael bod nid i'n cael bod y penderfyniad o adderais gyda'r methau. Rydym yn ym mwyn, thoseau maen nhw'n diolch cerddysol yn ysynol o'r gwahaniaeth yma. A'r gwnaethaf yw'n ddod i'r ymddangos yn y tawr, yw oedd ymdyn nhw'n ddweud o ffordd yma yn y ffordd maes ynglyn â ddweud o'r ffordd a'r cyfnodd yma yn y ffordd. Felly mae'r ddweud yw'r ffordd a'r ffordd, ond fel yw'r cefnodd yn ei bobl, yw yn gyffrifol yma, mae ddweud yma yn y ffordd, mae'r ddweud yn cyfle i'r ffordd maes. A'r ffordd maes i gael ei rysau. ac yn cael eu… ac yn y rai ffordd ar gyfer aciologi, rwy'n meddwl gynnwys yn sicr yn gweithio. Mae'r dwylo'r cyffredig wedi gweld, mae'r cyfnod rwy'n meddwl yn gweithio, mae'r gweithio er mwyn o bwg y gallu cyfnod, mae'r dylunio'n meddwl ar hyn o'r byw, mae'r cyffredig yn gweithio'n meddwl gweithio, gan ddweud o'r rhai cyffredig. Ond rydyn ni wedi'n meddwl i'r swyddo, am gyda i'n cyffredig i'n meddwl gweithio. If I get some gold coins from a merchant who's come across the sea, that's very different to going down and buying some scrap gold on the market, and that's very different from sending out a servant or somebody to pick up gold where he can find it from round the village or from local settlements. But I think there's a real issue about recycling and the one thing that came to me was, to what extent were these people really dependent on recycled Roman stock for their raw materials, because this crops up quite a lot, as far as I can see from my position of sheer ignorance in discussions about Saxon material. Because they've got these Roman stocks and this Roman material, how do they procure it? How do they get it? And I think these are the sorts of questions we should probably be asking rather than just putting things in the back of the recycling. And there's a hierarchy of materials based on accessibility and value. Gold is obviously at the top. Most of these are recycled both in one way or another. I put gemstones in brackets there because they're really reused rather than recycled. And there's a slight difference between reuse and recycling. Recycling, you melt stuff down, you blend it in a different way. But in general, everyone recycles gold and my relative who's stashing away gold sovereigns even as I speak in the event of society collapsing after Brexit, he is probably buying recycled gold just in the same way that one gets recycled gold. When one uses your old watch chains or whatever in the family hoard. And so gold is frequently recycled, but as things become cheaper, there's less incentive to recycle them. And one of the things that interest me obviously, as we've heard, my specialism is about the most minor material that's been recovered altogether, but I'm going to spend some time on that for obvious reasons because I know about it. But glass and copper alloy are two of those things you don't have to recycle all the time if you've got some resources behind you. And whether they recycle these and how they obtain those materials for recycling, if they did, is quite an interesting question. And so you have, in addition to this hierarchy of materials, you now have a hierarchy of production. You've got access to fresh material directly from the producers. You can make what you want when you want to. On the other hand, you may be dependent on everything being recycled or reused. You may have to scavenge for your material, in which case you only make what you can when the materials can be found. And clearly, we're sumber up in this sort of area in terms of the staffage here, hold on to the thought, but how far up is a good question. So let's have a look at recycling and the evidence for it that we have in the Saxon period. And I think a great study is the one by Mark Pollard and Peter Bray and their colleagues on the recycling of copper alloy metalwork. This was published in antiquity back in 2015. And here you see they've taken copper metalwork from the Iron Age right through to the late Saxon period in Great Britain. And up here we've got the percentage of the assemblage which is a particular type of metal. And the one mesh I've indicated here is leaded gun metal, so-called. And that's copper which contains lead, zinc and tin in significant proportions. And what you can see is that in the early Saxon period, there's this enormous peak in the proportion of leaded gun metal in bronze assemblages. And presumably what this means is that this time we have this real dependence on recycling old Roman stop. Okay. And then in the mid Saxon period, it drops off. Here we go. And one assumes that at that time therefore there's an influx of new metal, a fresh metal coming in. Now, I have to put some reservations on this. It's the best we can do at the moment. It's a great approach. Of course, how you interpret these peaks depends on the total amount of metalwork in circulation. Whether this recycling is really important on a real scale or not. And that's what we don't have so much evidence about. But even so, it's fairly clear that there's more recycling going on in the early Saxon period than in the mid Saxon period. And the boundary they give for that is about 650 AD, so we can assume that the hold I guess is in the later part of the early Saxon period. And we can look at the glass beads as well, the gloves on the recycling. And this is from a PhD supervised by John Hines and myself at Cardiff by James Peake. And what he did was he had a project on the Anglo-Saxon beads from the Ariswell Cemetery in Suffolk. And James, I visited when he started, he'd analysed about 20 beads. But actually he developed a technique where he could flake off tiny pieces of glass from down the piercing of the bead and analysed about 500, which is a really, really clever thing to do. A part because he was trained as a conservator I think, so he knew how to handle objects really well. But anyway, this is the result. If we take Tate Grugman's bead styles, then I think I'm running out of battery here, but on the left hand side you can see the bead types with the main distribution on the continent. And then on the right you've got the bead types with the main distribution in Britain. And he's labelled these according to the type of glass that they're made from. And what he shows is that the bead types where the main distribution is in Britain are made of recycled Roman glass, whereas the bead types where the main distribution is on the continent are made from fresh glass, glass made in the 6th century in the Near East. So you have the bead makers in Britain, if you like, apparently dependent on old recycled glass and the continental bead makers, or maybe the bead makers who have continental associations for that are working in Britain, they're using fresh glass from the Near East. So there's quite a lot of recycling going on with glass in Britain at this time as well. And when we look at the copper alloy of the Horde, what Eleanor Blablock notes is that actually the distribution of the Horde metalwork is mainly either a leaded gun metal or a copper leaded bronze. So it's mainly leaded bronze. The triangles, the red triangles are the Horde, not much at the top, mainly down the bottom there, which means actually there's not a lot of recycled, obviously recycled copper metal. They're selecting their copper alloys, and the white circles are the mid-angle Saxon copper alloys, and the black circles are the early ones, and the Staffordshire Horde resembles, she tells us, the middle Saxon copper alloys. And this is where, I was suggesting earlier, there's an influx of fresh copper. And the analysis of the copper from the Horde also fits this idea of fresh copper metal, not random recycling of Roman material. As for the glass, well, some of the glass occurs in some quite nice pieces. For example, you've got the so-called minifiori at the top there, which has been suggested on a number of occasions that this was made in Britain. I can remember when I first worked at the BM, maybe Spits, and it got photographs of this stuff, which is still there, trying to compare the shapes and designs of the minifiori to see if you could actually track the minifiori rods from which these pieces were taken. Anyway, what we have is a certain amount of red glass inlay, shown just here, and then we have the minifiori here, and we have the blue glass inlay down here. Now, this glass is all of a type called natron glass, that's what Mick has shown, based on those analyses in France, and we're fortunate in that we've now got different analytical groups of natron glass depending on the date when the glass was made. So, the Roman natron glass, there are these two groups down here, and then we've got a group of 5th century glass over here, we've got 6th century here, and we've got 4th century up here. And just for example, the pretty well blue jars, the red symbols there, they're typical 6th century glass, which is what you might expect. So this is not recycled glass for those particular vessels, but let's have a look at the garnet red glass in the inlays and the minifiori on the hall. Now, this is a slightly different take on a diagram that Andrew Mick shows, his report, and back in around 2007-2008, we analysed Anglo-Saxon vessels in the BN, the Vera Epsons catalogue, and there the blue symbols here. And we found two main groups, one typical group down here, and one group with high potassium and magnesium, and we speculated that this was the Anglo-Saxon glass workers adding wood ash to their glass in order to make it go further because there was a shortage of glass. And this is what is reported in the volume on the board. The red symbols here are the red glass inlays and the glass minifiori from the hall. They're very, very similar glasses, and they both lie on this train. And so it's quite understandable that one might expect that this is some kind of work to smelt the glass go further and stretch it. However, last year, well early this year, actually a paper appeared on visigothic glass vessels from Spain which show exactly the same pattern. And in fact these two groups, we saw Anglo-Saxon glass workers modifying the glass and stretching it. In fact, it's fresh glass from the south again, and they were doing it somewhere in the primary production area of the glass. So we've got what I think is probably fresh glass in the red glass here. This stuff was quite widely traded. Here there's a small group of this reddish brown glass in a red called the Marzomini church red off the southeast coast of Sicily. There is a piece. The use of this small amount of glass I have in the red as inlay is possible, and there's similar stuff a bit paid off from Israel. It's very difficult to recycle and melt this colour. It depends on high manganese. If you keep remelting it, it will lose its colour. So I don't think it's recycled. Similarly with the blue. The blue is Roman glass. There's no doubt. But when we look at blue Roman glass from Mosaic tessary shown in the blue dots here, not much of it is like the hold. The hold blue glass is very, very, forms quite a distinctive and similar group. Recycled glass, for example, from San Vincenzo in Italy, where they're using in the eighth, ninth century, they're recycling Roman mosaics, again lies down here, not up here. So the blue glass, although it's recycled on Roman, is special. It's been carefully selected and curated. Garments. OK. The work of Jamet, Anderson, Catherine Higgins, we have... Garments clearly come from the original supplier at some point. They've not been modified by any remelting process or anything else. And we've got garments from India and garments from the Czech Republic, as it is now. And they're really quite tightly clustered groups. They've been used, for example, in the same objects, in some cases, so clearly the smiths had both Indian and Czech garments at some stage. Again, this doesn't suggest to me a random collection. It suggests stuff is coming in, in batches, in consignments. Other materials. Well, I wasn't able to come to any conclusion about whether the silver had been recycled or not, perhaps, and I think she's here with lots of ideas. But mercury is one of the invisible materials, like iron, which was obviously there, because a lot of the objects are gilded, and that would have come directly from the mines, possibly in Spain. Beaswax, surely insular. We know the Saxons thought quite highly of bees. I wrote about them. And I do wonder if beeswax might eventually prove to be the clue to where the objects in the hall were made, because my guess is beeswax is a local material, something you can attain from people who keep bees locally. And maybe some isotopic method combined with DNA will come up to source beeswax, because we know people in other industry, in medicine, are working on things like hydrogen isotopes in beeswax. Just as the way we use these isotopes in bone, we might be able to do something with beeswax. And that is something for the future. Horn, I mean, I guess this is what I'm called, but I have no idea. But we have a large number, in addition to the iron, there are other invisible materials here. We shouldn't forget. So when we look at where, this is my last slide, when we look at where the material is originated, although some of these materials, like glass, are recycled in gold as well, my guesses are my inferences, no proof, but they become as batches from specific areas of origin, rather than as random recycling, scavenging, and so on in Britain. And I don't feel there's a match recycled Roman stock here at all, or at least I don't think we should assume there was. The jury's out, we can't be sure, but my feeling is that workshops of this status, and they produced this material, had a lot of reach, and they were reaching out and bringing in stuff that had been carefully curated elsewhere. Even if it wasn't fresh. And I'd just like to end by acknowledging the people that contributes to the volume, I just lifted this list from the volume, who have done this amazing piece of work and allow casual visitors like me to make a few comments about it.