The main pieces, on the other hand, are full of personality: elite guards, knights on horseback, commanding kings and meditative queens. Pride of place goes to the ultimate source of legitimate power: the king – capture him, and all fighting stops. All the Lewis kings sit on ornate thrones, a sword across their knees. Guarding the kings are two kinds of specialist warrior. One is immediately familiar to us – the knight, fast-moving, versatile and mounted on horseback. From the very beginnings of chess in India, the mounted warrior is a constant: he is in every age and in every country and is largely unchanged today. But these familiar knights are flanked by something much more sinister. At the edges of the board where we now have castles are the ultimate shock troops of the Scandinavian world. They stand menacingly, some of them working themselves into a frenzy of bloodlust by chewing the tops of their shields.
These are the fighters called berserkers. Berserker is an Icelandic word for a soldier wearing a shirt made of bearskin, and the word ‘berserk’ even today is synonymous with wild, destructive violence. More than any piece on this board, the berserkers take us to the terrifying world of Norse warfare.
Around 1200, the Isle of Lewis, on the north-west edge of what is now Scotland, was at the heart of this Norse world. It was part of the kingdom of Norway. The language was Norwegian and its archbishop had his cathedral in Trondheim, 250 miles north of Oslo. Trondheim was one of the great centres for carving walrus ivory, and the style of the Lewis Chessmen is very close to pieces made there. We know that similar chess pieces have also been found in Ireland, and Lewis was a staging-post on the thriving sea route between Trondheim and Dublin. The medieval historian Professor Miri Rubin elaborates:
I believe that they come from Norway and probably came from somewhere around Trondheim; they look like so much that’s produced there. But if we think of Great Britain not as very much connected to the central and southern European sphere, as it is now, but instead of the North Sea as a sort of ‘connector’ of regions, there is that whole North Sea region – that’s where the Vikings came from, that’s where the predecessors of the Normans who ultimately conquered England came from. So if we think of that as a sort of Commonwealth, a northern Commonwealth, that became rich because it had these amazing raw materials of wood and amber and fur and metals, then we can imagine better how something produced in Norway could end up on the west coast of Scotland.
The Lewis Chessmen were discovered in 1831, at Uig Bay on Lewis, in a small stone chamber concealed in a sandbank. By far the most likely explanation for their being there is that they were hidden for safety by a merchant, who may have been intending to sell them on Lewis itself. A thirteenth-century poem, for example, names a powerful figure, Angus Mór of Islay, as king of Lewis, and has him inheriting his father’s set of ivory chess pieces:
To you he left his position, yours his breastplate, each treasure … his slender swords, his brown ivory chessmen.
By playing chess, a ruler like Angus Mór indicated that although his power base was on the extreme outer edge of the continent, he was nonetheless part of an elite high culture that embraced all the courts of Europe. And the figure on the board which represents these European courts more than any other is the queen.
Unlike in Islamic society, where the rulers’ wives would generally have remained hidden from public view, the European queen enjoyed a public role and the high status of adviser to the king. In Europe, land and power could sometimes pass through the female line. So, whereas on the Islamic chessboard the king is accompanied by his male adviser, the vizier, on the European board the king sits beside his queen. In the Lewis chess pieces, the queens all sit staring into the distance, holding their chin in their right hand – permanently suggesting to their contemporaries intense thought and wise counsel, but looking to us comically glum.
Perhaps, though, these queens had something to be glum about. In medieval chess, the queen didn’t actually have much power – she could move only one diagonal space at a time. Her modern sister, on the other hand, is the most powerful piece on the board. Apart from the queen, surprisingly little has actually changed in chess since medieval times, least of all the formidable mathematics of the possible moves. This sedentary, cerebral game has always aroused passionate emotion. The writer Martin Amis has long been fascinated by both aspects:
The maths of chess is very interesting, in that after four moves each the possibilities are already in the billions. It is the supreme board game. Very occasionally you glimpse a combination that a great player would be seeing all the time; and suddenly the board looks tremendously rich – it seems to bristle with possibilities. And combative will is what you see in all the great players – they’ve all got the killer instinct.
Sometimes, it is literally the killer instinct: an English court record from 1279 tells us that when one David de Bristol was playing chess against a certain Juliana le Cordwaner, they quarrelled so violently that he struck her in the thigh with a sword and she died immediately.
There’s one piece I have not mentioned yet, but which is perhaps the most fascinating figure of all the Lewis Chessmen, one that gives a crucial insight into the society that made it. It is the bishop, who in medieval Europe was one of the great powers of the state, not only controlling spiritual life but also commanding land and men. The Archbishop of Trondheim would have been a real force in Lewis. The bishops of the Lewis Chessmen are the oldest in existence, powerful reminders that across the whole of Europe the church was an essential part of any state’s war machine. The story of the Crusades to the Holy Land and the role that the church played in them is well known, but at the same time there was also a northern crusade, led by the Teutonic knights, which conquered and Christianized parts of eastern Europe; while in the south, Castile and central Spain, with bishops playing a prominent part, were being reclaimed for Christendom from their Islamic rulers.
It is from that Spain, newly Christian but with Muslim and Jewish citizens, that the next object comes – the versatile, multifunctional smart phone of its time, the astrolabe.
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Hebrew Astrolabe
Brass astrolabe, probably from Spain
AD 1345–1355
This is a portable model of the heavens, in the shape of an exquisite, circular brass instrument, which looks a bit like a large brass pocket watch. It’s an astrolabe, and with it in my hands I can tell the time, do some surveying, or work out my position in the world by sun or stars and, if I have enough information, cast your horoscope.
Although familiar to ancient Greeks, the astrolabe was an instrument that was particularly important for the Islamic world, as it allowed the faithful to find the direction of Mecca, so it is not surprising that the oldest astrolabe to survive is an Islamic one from the tenth century. But the astrolabe pictured here is a Jewish one made about 650 years ago in Spain. It is inscribed with Hebrew lettering, but it also contains Arabic and Spanish words, and it combines both Islamic and European decorative elements. It is not just an advanced scientific instrument, but also an emblem of a very particular moment in Europe’s religious and political history.
We don’t know exactly who owned this particular Hebrew astrolabe, but it tells us a great deal about how Jewish and Islamic scholars revitalized science and astronomy by developing the inheritance of Classical Greece and Rome. The instrument speaks of a great intellectual synthesis, and about a time when the three religions – Christianity, Judaism and Islam – coexisted peacefully. There was no religious synthesis, but the three faiths lived together in fruitful friction, and between them they made medieval Spain the intellectual powerhouse of Europe.
An astrolabe makes accessible in compact form the sum total of medieval astronomical lore. Like the latest developments today, this was must-have technology, a demonstration that you were right at the cutting edge. There is a wonderfully funny and touching letter written by Chaucer to his ten-year-old son Lewis, who was obviously like techie boys in every generation and clamouring to get to grip
s with an astrolabe. As well as writing him a letter, Chaucer also wrote him a little instruction manual, telling the boy how to use the instrument and warning him just how difficult he was going to find it – although I suspect that, like most children today, Lewis quickly left his father behind.
Little Lewis, I have perceived well thy ability to learn sciences touching numbers and proportions; and I have also considered thy earnest prayer specially to learn the Treatise of the Astrolabe. Here is an Astrolabe of our horizon and a little treatise to teach a certain number of conclusions appertaining to the same instrument.
Trust well that all the conclusions that can be found, or else possibly might be found in so noble an instrument as an Astrolabe, are not perfectly understood by any mortal man in this region, and I have seen that there be some instructions that will not in all things deliver their intended results; and some of them be too hard for thy tender age of ten years to understand …
At first sight this astrolabe looks like an outsized old-fashioned pocket watch with an entirely brass face. It is a gleaming assemblage of interlocking brasswork, with five wafer-thin discs, one on top of another, held together by a central pin. On top of this are several pointers that can be lined up with various symbols on the discs to give you astronomical readings or help you to determine your position. An astrolabe like this one is designed for the particular latitude in which it is going to be used – the five discs here will allow you to get an accurate reading from any position between the latitudes of the Pyrenees and North Africa. In the middle of that range are the latitudes for the Spanish cities of Seville and Toledo.
This tells us that this astrolabe was almost certainly made for somebody based in Spain, who might travel between North Africa and France, and the writing on the astrolabe tells us clearly what kind of person must have been using it. The owner is Jewish and is learned.
Dr Silke Ackermann, the curator of scientific instruments here at the British Museum, has spent a lot of time studying this astrolabe:
The inscriptions are all in Hebrew – you can see the finely engraved Hebrew letters quite clearly. But what’s so intriguing about the piece is that not all the words are Hebrew. Some of them have Arabic origins and some are medieval Spanish. So, for example, beside a star in the constellation that we call Aquila – the eagle – we can see written in Hebrew nesher me’offel – ‘the flying eagle’. But other star names are given in their Arabic form: so Aldabaran in Taurus has its Arabic name al-dabaran written in Hebrew letters. And when you read out the Hebrew letters for the names of the months, they give you the medieval Spanish names like October, November, December. So what you have here is the knowledge of the Classical Greek astronomers who charted the heavens, combined with the contributions of Muslim, Jewish and Christian scholars – and all in the palm of your hand.
The Spain in which this astrolabe was made was the only place in Christian-ruled Europe where there were significant populations of Muslims; it was also home to an extensive Jewish population. From the eighth to the fifteenth centuries, the mixing in medieval Spain of the people of these three religions was one of Spanish society’s most distinctive elements. Of course, there was no such country as Spain yet – in the fourteenth century it was still a patchwork of states. The biggest was Castile, which shared a border with the last independent Muslim state in the peninsula, the kingdom of Granada. In many parts of Christian Spain there were large numbers of Jews and Muslims, all three groups living together but keeping their separate traditions, in what might be described as an early example of multiculturalism. This coexistence, extremely rare in this period of European history, is often referred to by the Spanish term convivencia.
The distinguished historian of Spain Professor Sir John Elliott explains how this mixed society emerged:
As I see it, the essence of multiculturalism is the preservation of the distinctive identity of the different religious and ethnic communities in a society. And for much of the period of Islamic rule, the policy of the rulers was to accept that diversity, even if it regarded Christians and Jews as adherents of inferior faiths. When the Christian rulers took over they did much the same, because they had no other option, really, though at the same time, of course, intermarriage was forbidden within these communities, so it was a limited multiculturalism. That didn’t prevent a great deal of mutual interaction, particularly at the cultural level. So the result was a civilization which was vibrant and creative and original because of this contact between the three races.
A couple of centuries earlier this mutual interaction had put medieval Spain at the forefront of the expansion of knowledge in Europe. Not only was there growing scientific knowledge around astronomical instruments like our astrolabe, but it was also in Spain that the works of the ancient Greek philosophers, above all Aristotle, were translated into Latin and entered the intellectual bloodstream of medieval Europe. This pioneering work depended on constant interchange between Muslim, Jewish and Christian scholars, and by the fourteenth century, this scholarly legacy was embedded in European thought – in science and medicine as well as philosophy and theology. The astrolabe became the indispensable tool of astronomers, astrologers, doctors, geographers or indeed anyone with intellectual aspirations – even a ten-year-old English boy like Chaucer’s son. Eventually, this one intricate object that could do so many things would be displaced by a whole range of separate instruments – the globe, the printed map, the sextant, the chronometer and the compass, each doing one of the numerous jobs the astrolabe could do on its own.
The shared inheritance of Islamic, Christian and Jewish thinkers would survive for centuries, but the convivencia of the three faiths did not. Although medieval Spain is today often hailed by politicians as a beacon of tolerance and the model for multi-faith coexistence, the historical truth is distinctly less comfortable. This is Sir John Elliott again:
As regards actual religious tolerance, it’s rather less clear-cut than coexistence … Christendom in general was a pretty intolerant society, very opposed to deviants of all kinds, and that intolerance was particularly directed against the Jews. For instance, England expelled its Jews in 1290, and France more than a decade later, and as far as Christian–Muslim relations were concerned there was a hardening of religious attitudes from the twelfth century onwards. As the Christians preached the Crusades, and the Almohads who moved into Spain from North Africa preached the Jihad, there was an increasing aggressiveness on both sides.
Against this background, Christian Spain could still seem comparatively tolerant. But there were already signs of trouble, and the survival of Muslim Granada was a reminder of unfinished business. The intellectual alliance of Christians, Jews and Muslims would soon be swept away by a militant Spanish monarchy, intent on following the rest of Europe and asserting Christian dominance. In the years around 1500, Jews and Muslims would be persecuted and expelled from Spain. The convivencia was over.
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Ife Head
Brass statue, from Nigeria
1400–1500 AD
So far in this history of the world through things, we have encountered all kinds of objects, all eloquent, but many of them neither beautiful nor valuable. This object, however, a head cast in brass, is undoubtedly a great work of art. It is quite clearly the portrait of a person – though we don’t know who; it is without question by a very great artist – though we don’t know who; and it must have been made for a ceremony – though we don’t know what kind. What is certain is that the head is African, it is royal, and it epitomizes the great medieval civilizations of West Africa of about 600 years ago. It is one of a group of thirteen heads, superbly cast in brass, all discovered in 1938 in the grounds of a royal palace in Ife, Nigeria, which astonished the world with their beauty. They were immediately recognized as supreme documents of a culture that had left no written record, and they embody the history of an African kingdom that was one of the most advanced and urbanized of its day. The sculptures of Ife exploded European notions of th
e history of art, and they forced Europeans to rethink Africa’s place in the cultural history of the world. Today they play a key part in how Africans read their own narrative.
The Ife head is in the Africa gallery of the Museum, where it seems to be looking at its visitors. It is a little smaller than life-size and is made of brass, which has darkened with age. The shape of the face is an elegant oval, covered with finely incised vertical lines – but it is a facial scarring so perfectly symmetrical that it contains rather than disturbs the features. He wears a crown – a high beaded diadem with a striking vertical plume projecting from the top, which still has quite a lot of the original red paint. This is an object with extraordinary presence. The alert gaze, the high curve of the cheek, the lips parted as though about to speak – all these are captured with absolute confidence. To grasp the structure of a face like this is possible only after long training and meticulous observation. There is no doubt that this represents a real person, and reality not just rendered but transformed. The details of the face have been generalized and abstracted to give an impression of repose. Standing face to face with this brass sculpture I know that I’m in the presence of a ruler imbued with the high serenity of power. When Ben Okri, the Nigerian-born novelist, looks at the Ife head he sees not only a ruler but a society and a civilization:
A History of the World in 100 Objects Page 35