Alfred Jewel

Overview

The Alfred Jewel, a masterpiece of Anglo-Saxon craftsmanship, stands as a testament to the artistic and cultural achievements of the late 9th century. The jewel is crafted from gold, cloisonné enamel, and a polished tear-shaped rock crystal, with intricate detailing that showcases the skill of its makers. The front of the jewel features a figure holding a staff or a cross, surrounded by an Old English inscription that reads “ÆLFRED MEC HEHT GEWYRCAN,” translating to “Alfred commanded me to be made.” This inscription, coupled with the quality of the craftsmanship, suggests that the jewel was commissioned by King Alfred himself.

History & Purpose

The Alfred Jewel was discovered in 1693 in Somerset, England, near a monastery founded by King Alfred the Great. This area has a strong association with Alfred, as it is located about six miles from Athelney, where he famously took refuge and, according to his biographer Asser, “struck out relentlessly and tirelessly against the Vikings” in 878 CE.

In the decade following his successful campaign against the Vikings, Alfred focused on reviving the artistic and intellectual life of his kingdom. To achieve this, he invited artisans from the Continent and promoted the translation of Latin texts into Old English. Alfred himself translated several texts, including Pope Gregory the Great’s Pastoral Care (Regula Pastoralis). In the preface of this translation, Alfred expressed his desire to rejuvenate learning by sending a translated copy of Pastoral Care to each bishopric in his kingdom. He writes:

The Alfred Jewel. Photo by Giles Watson, CC BY-SA 2.0 , via Wikimedia Commons.

Image: The Alfred Jewel. Photo by Giles Watson.

“I intend to send a copy to each bishopric in my kingdom; and in each copy there will be an æstel worth fifty mancuses. And in God’s name I command that no one take the æstel from the book, nor the book from the church. It is not known how long there shall be such learned bishops as, thanks be to God, they are now nearly everywhere. Therefore, I wish that they (the book and æstel) always remain in place, unless the bishop wishes to have the book with him, or it is on loan somewhere, or someone is copying it.”

The exact meaning of the word æstel is uncertain, but scholars generally agree that it likely referred to a pointer used to follow the lines while reading a book. The flat back of the Alfred Jewel supports this interpretation, suggesting it could rest against a page. Additionally, the opening at the mouth of the animal head was likely intended to hold a bone or wooden rod, which would serve as the pointer.

Measurements

The jewel, measures just under 2.5 inches (6.4 cm) in length, and approximately 1.5 inches (3.2 cm) in width. The main body of the jewel is about 0.5 inches (1.3 cm) thick, while the opening that protrudes from the animal head is 3/8 inches (1 cm) deep with an internal diameter of 3/16 inches (0.5 cm).

The Alfred Jewel (Side View). Photo by Giles Watson, CC BY-SA 2.0 , via Wikimedia Commons

Image: The Alfred Jewell (Side View) Photo by Giles Watson.

Today, the Alfred Jewel is housed in the Ashmolean Museum in Oxford, where it continues to be a focal point for visitors interested in Anglo-Saxon history and art.

Inscription

The inscription on the Alfred Jewel is a crucial element that links the artifact directly to King Alfred the Great. The inscription, written in Old English, reads: “AELFRED MEC HEHT GEWYRCAN.” This phrase translates to “Alfred commanded me to be made.” The inscription is a succinct yet powerful declaration of the artifact’s origins. It provides insight into its purpose and the cultural context of its creation.

Image: King Alfred’s Jewel—Inscription. Henry Shaw (1800-1873), Public domain.

Figure

The figure inside the Alfred Jewel has long been a subject of scholarly debate regarding its exact representation. Crafted from cloisonné enamel, the figure is characterized by its large, prominent eyes and the holding of what appears to be foliate stems. Scholars have proposed various interpretations for this enigmatic figure, including portrayals of Christ, King Alfred, the Pope, and even Alexander the Great. However, two primary interpretations have emerged as the most compelling: Christ and a personification of Sight/Wisdom.

If the figure represents Christ, it emphasizes the Christian ethos that permeated King Alfred’s reign – that true wisdom comes from God. Additionally, the depiction of Christ holding foliate stems could symbolize the Tree of Life or spiritual growth, both central themes in Christian iconography. This interpretation aligns with Alfred’s mission to strengthen the Christian faith within his kingdom, reinforcing the idea of divine guidance and support in his rule.

The personification of Sight/Wisdom is particularly popular because the figure closely resembles the depiction of Sight on the Fuller Brooch, which features large eyes surrounded by representations of the other senses. This suggests a symbolic representation of the sense of sight, linked to wisdom and understanding. Alfred’s dedication to reviving learning and education in his kingdom makes this interpretation especially fitting. The large eyes of the figure can be seen as a metaphor for the pursuit of knowledge and enlightenment, reflecting Alfred’s own aspirations for his people. The foliate stems held by the figure may symbolize growth, life, and the flourishing of wisdom, further reinforcing the theme of enlightenment and education.

The Alfred Jewel - Front, Enamel, and Back. Henry Shaw (1800-1873), Public domain, via Wikimedia Commons

Image: King Alfred’s Jewel—front, enamel, and back. Henry Shaw (1800-1873), Public domain.

Further Research & References

Adams, Max. The Viking Wars: War and Peace in King Alfred’s Britain, 789-955. New York, NY. Pegasus Books Ltd. 2018.

Ambrose, Kirk. “The Sense of Sight in the Book of Kells.” Source: Notes in the History of Art 27, no. 1 (2007): 1–9. http://www.jstor.org/stable/23207978.

Asser. The Life of King Alfred and Other Contemporary Sources. Translated by Simon Keynes and Michael Lapidge. Penguin Classics, 1983.

Hills, Catherine. Anglo-Saxon Art: A New History. Ithaca: Cornell University Press, 2012.

Hinton, David A. “Late Anglo-Saxon Metal-Work: An Assessment.” Anglo-Saxon England 4 (1975): 171–80. http://www.jstor.org/stable/44511008.

Kendrick, T.D. Anglo-Saxon Art to A.D. 900. London: British Museum Publications, 1984.

Meehan, Bernard. “The Insular Style and Anglo-Saxon Art.” Proceedings of the Royal Irish Academy 80 (1980): 39-66.

Morris, Marc. The Anglo-Saxons: A History of the Beginnings of England, 400-1066. New York, NY: Pegasus Books, Ltd., 2021.

Stenton, F.M. Anglo-Saxon England. Oxford: Clarendon Press, 1971.

Webster, Leslie. Anglo-Saxon Art. New York: Cornell Paperbacks, 2012.

Webster, Leslie, and Janet Backhouse. The Making of England: Anglo-Saxon Art and Culture, A.D. 600-900. London: British Museum Publications, 1991.

Photos:

The Alfred Jewel. Giles Watson, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons.

The Alfred Jewel (Side View). Giles Watson, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons.

King Alfred’s Jewel – front, enamel, and back. Henry Shaw (1800-1873), Public domain, via Wikimedia Commons.

King Alfred’s Jewel – Inscription. Henry Shaw (1800-1873), Public domain, via Wikimedia Commons.

Statue d’Alfred le Grand à Winchester – Odejea, CC BY-SA 3.0 <https://creativecommons.org/licenses/by-sa/3.0>, via Wikimedia Commons. [cropped].

Sutton.Hoo.ShoulderClasp2 – British Museum, CC BY-SA 2.5 <https://creativecommons.org/licenses/by-sa/2.5>, via Wikimedia Commons.