Mold gold cape

TheMold gold cape(Welsh:Clogyn Aur yr Wyddgrug)is a ceremonial cape of solid sheet-gold fromWalesdating from about 1900–1600 BC in theBritish Bronze Age.It was found at Bryn yr Ellyllon burial mound nearMold,Flintshirein1833.

Mold gold cape
Clogyn Aur yr Wyddrug(Welsh)
The Mold gold cape in theBritish Museum
Material	Gold
Created	1900–1600 BC
Discovered	1833 Mold, Wales
Present location	British Museum

The cape is thought to have formed part of a ceremonial dress, perhaps with religious connections. It is now in theBritish Museumin London, where it is usually on display.

Discovery

The gold cape was found in 1833 by workmen. Accounts of the exact circumstances vary: either during the filling of a gravel pit or while they were quarrying for stone.

The cape was within aBronze Ageburial moundknown asBryn yr Ellyllon,which translates to "Goblins' Hill". The gold cape had been placed on the body of a person who was interred in a roughcist(stone-lined grave) within the mound. The preserved remains of the skeleton were fragmentary, and the cape was badly crushed. An estimated 200–300amberbeads, in rows, had originally been on the cape, but only a single bead survives today. Also associated with the cape were remains of coarse cloth and 16 fragments of sheetbronzewhich are likely to have been the backing for the gold: in places the gold was attached to the bronze sheeting with bronze rivets. Among the artefacts found there also were two gold 'straps'. Anurn,with large quantities of burnt bone and ash, was found 60–90 cm (24–35 in) from the grave.

The cape

Mold gold cape, British Museum

The cape is 458 mm (18.0 in) wide. It was designed to fit someone of a very slight build, perhaps a teenager, and although the sex of the person buried in this grave remains unclear, the associated finds are likely, by comparison with similar contemporary graves discovered, to be those accompanying the burial of a woman.The cape shows signs of having been worn, and appears to have had a leather lining.

The cape is considered to be one of the most spectacular examples of prehistoric sheet-gold working yet discovered. It is of particular interest as both its form and its design are unparalleled. The cape is oval in shape and would cover the shoulders, upper arms, and upper chest of the person wearing it, being higher at the back and lower in the front. As the cape extends so far down the upper body, it would have severely restricted arm movement by pinning them to the wearer's side, so that only the lower arms were usable. For this reason, the cape would not have been suitable for everyday wear. It seems most probable that the cape was used for ceremonial purposes, and may have signified the wearer as a person of spiritual or temporal power: the Bronze Age equivalent of achasuble,perhaps.

The craftsmanship with which the cape was constructed is exceptional. The object was beaten out of a single ingot of gold, a task which would have taken considerable time and skill, and was then intensely decorated withrepousséconcentric rings of ribs and Boss es. The decoration almost totally fills the object's outer surface, so that very little "plain" gold remains. It has been suggested that this decorative motif may mimic multiple strings of beads and/or the folds of cloth.

The value of the metal and the quality of the craftmanship suggests that the cape was produced by a wealthy culture. Scholars speculate that the makers and owners of the cape were associated with the mine on theGreat Orme,north Wales, the largest copper mine in north-west Europe at that time.

The decorative motifs

Detailed image showing decoration bands and tool marks.

Around the neck and base is a line of perforations. There are three zones of decoration on the cape: a band running around the base, a curving panel that dips at the neck and rises over the shoulders, and two matching panels to fill in the upper arm area. Above the perforations at the base are two high ridges and a deep groove. Above the groove is a line of conical Boss es that run around the whole cape, but bifurcate at the front to rise up over the triangular panels at the upper arm. The Boss es at the front are enlarged.

At the front the sequence of decoration above the Boss es is, from bottom to top: ridge, three rows of small domed Boss es, ridge, row of square-based pyramids, ridge, row of small domed Boss es, ridge, row of lentoid Boss es, ridge, three rows of small domed Boss es, ridge, row of conical Boss es and finally, three ridges.

The back has the same sequence with the addition, from bottom to top, of ridge, row of lentoid Boss es, ridge, three rows of small domed Boss es, ridge and, a row of lentoid Boss es.

The two triangular areas on the upper arm are bounded at the front by a ridge, row of lentoid Boss es and a ridge. At the front and back it is then bounded by three rows of small domed Boss es. Inside this is a ridge, a row of conical Boss es, and two ridges with a groove. The central area is filled with small domed Boss es. At the base of each ridge and the large Boss es are fine punched indentations (pointillé). In places the perforations at the base are double. In areas where parts of the cape are missing there are perforations (possibly from a previous repair).

Perforations along the upper and lower edges may indicate that it was once attached to a lining, perhaps of leather, which has decayed. The bronze strips may have served to strengthen the adornment further.

Parallels

The Mold cape is the only other piece of Bronze Age goldwork that challenges bronze age Wessex gold material in its richness; however, the decorative motifs employed in the cape are dissimilar to those found in Wessex artefacts.

The Mold cape shows both indigenous and Continental influences. Similar treatment of decorative motifs may be found in other pieces of Bronze Age metalwork, such as a bowl found at Rongères in eastern France (which itself draws from Central European sources), and also with the lenticular Boss es found on the Migdale (Sutherland, Scotland) bronze "spacer-plate" (a device to hold apart the separate strands of a necklace) and the bronze armlets found at Melfort in Argyll, Scotland. This distinctive Boss motif, surrounded by fine dots outlining the lenticular shape, has a long duration inScotlandand obviously survived in the indigenous repertoire to reappear on this unusual cape.

With its finerepousséwork the Mold cape represents the last major piece of second millennium BCE sheetwork so far discovered. Thereafter, the dominant preference for sheetwork in the British Isles is eclipsed and the evidence is more of massive goldwork in the form of solid bracelets, twisted bar-flangedtorcs,and solid rings.

Excavation and display

The Mold Cape, back view

Since its backing had decayed, the fragile cape broke up during recovery. The pieces were dispersed among various people. Although the British Museum acquired the greater proportion in 1836, small fragments have come to light intermittently over the years and have been reunited with the larger portion. Small fragments of the actual cape are on permanent display in theDaniel OwenCentre's museum inMold.

Later, detailed study and restoration revealed the full form of the cape, which at one time had been misidentified as a peytrel (chest ornament) for a horse. It also became apparent that a second, smaller object, in matching em Boss ed style, was present in the grave. The cape is now mounted on cloth.

The cape was number 6 in the list of British archaeological finds selected by experts at theBritish Museumfor the2003BBC TelevisiondocumentaryOur Top Ten Treasurespresented byAdam Hart-Davis.It also featured in theBBC Radio 4seriesA History of the World in 100 Objects,as object number 19, in February 2010.

The cape was on display at the National Museum of Wales, Cardiff until 4 August 2013, but was transferred to Wrexham for the period 7 August to 14 September 2013.

Proposed repatriation to Wales

Main article:Welsh artefacts in museums outside Wales

There have been calls from various local politicians torepatriatethe artefact to a museum in Wales. Although in 2011, it was stated repatriation of artefacts was not part of the current Welsh Government strategy.

In 2002,Alison Halford,WelshAssembly MemberforDelyn,called for the British Museum to return the artefact to a north Wales museum. The artefact is said to be held in London over security concerns at north Wales museums, with Halford stating if there were "such a museum [in north Wales] we would be able to a legitimate claim for [its] return".In 2011, theCeltic LeagueandPlaid Cymru's Westminster leaderElfyn Llwydbacked similar calls. With Llwyd stating it should be returned as it is part of the Welsh "collective memory".

In 2013, the cape was temporarily returned to Wales on loan, with a local tourism chair expressing his disappointment with being unable to have it permanently return, and hopeful a new local museum can house it in the future.In 2018, Delyn AMHannah Blythynrepeated calls for its return, raising the matter in theWelsh Assemblyand with theFirst Minister.In the same year, Denbighshire councillorMabon ap Gwynfor,tweeted for the cape to be returned to Wales.In 2022, the academic and former librarian of the National Library of WalesAndrew Greencalled for the British museum to return artefacts, including the cape to Wales.

In popular culture

The cape is referenced in the bluegrass song, "King of Boys", bySteve MartinandEdie Brickell.

See also

Archaeology of Wales

British Museum registration numbers

• 1836,0902.1
• 1856,1014.1
• 1857,1216.1
• 1877,0507.1
• 1881,0514.1
• 1881,0516.1
• 1881,0516.2
• 1883,1207.1
• 1927,0406.1
• 1972,0601.1
• 1972,0601.2
• 1972,0601.3
• 1972,0601.4

See also

• Golden hat
• Nebra skydisk
• Shropshire bulla
• Berliner Goldhut

Bibliography

• Clarke, D. V.; Cowie, Trevor G.; Foxon, Andrew; Barrett, John C. (1985),Symbols of power at the time of Stonehenge,National Museum of Antiquities of Scotland,ISBN978-0-11-492455-3
• Gage, J., 1836 "A letter from John Gage, esq, FRS, Director, to Sir Henry Ellis, KH, FRS, Secretary, accompanying a gold British corselet exhibited to the Society, and since purchased by the Trustees of the British Museum"Archaeologia26, 422–31
• Powell, T. G. E.,1953 "The gold ornament from Mold, Flintshire, North Wales"Proceedings of the Prehistoric Society19, 161–79
• Taylor, Joan J. (1980),Bronze Age Goldwork of the British Isles,Gulbenkian archaeological series, Cambridge,ISBN978-0-521-20802-4

External links

• British Museum collection online - The Mold Cape
• The British Museum page about the cape
• British Museum and National Museums and Galleries of Wales information about the cape
• BBC page about the cape
• "A History of the World in 100 Objects" podcast about the cape, by the BBC & the British Museum

This article is about an item held in theBritish Museum.The object reference is1836,0902.1.