Franks Casket Totally Explained

Everything about The Franks Casket totally explained

The Franks Casket (or the Auzon Runic Casket) is a small whalebone chest, carved with narrative scenes in flat two-dimensional low-relief and inscribed with Anglo-Saxon runes. The casket is dateable from its pagan elements to the mid-seventh century CE (that is, during the height of the Heptarchy and the period of Christianization of England). The casket is densely decorated with images and interpreting the runic inscriptions has occupied linguists. The casket is now on display at the British Museum. Generally reckoned to be of Northumbrian origin, it's of unique importance for the insight it gives into secular culture in early Anglo-Saxon England. The majority of the history of the casket was unknown until relatively recently. It was in the possession of a family in Auzon, a village in Haute Loire (upper Loire region) France. It served as a sewing box until the silver hinges were traded for a silver ring. Without the support of these the casket fell apart. The parts were shown to a Professor Mathieu from nearby Clermont-Ferrand, who sold them to an antique shop in Paris, where they were bought in 1857 by Sir Augustus Wollaston Franks, who subsequently donated the panels in 1867 to the British Museum, where he was Keeper of British and Medieval. the missing right end panel was later found in a drawer by the family in Auzon and sold to the Bargello Museum, Florence, where it was identified as part of the casket in 1890. Investigation by W.H.J. Weale revealed that the casket had belonged to the church of Saint-Julien, Brioude; it's possible that it was looted during the French Revolution.
The imagery is multiform in its inspirations and includes a single Christian image, the Adoration of the Magi, depicted along with images derived from Roman history (Emperor Titus) and Roman mythology (Romulus and Remus), as well as depictions of legends indigenous to the Germanic peoples: the Germanic legend of Weyland the Smith, an episode from the Sigurd legend, and a legend that's apparently an otherwise lost episode from the life of Weyland's brother Egil.

Description

Front panel

The front panel depicts elements from the Germanic legend of Wayland Smith on the left panel, and the adoration of the Magi on the right. Around the panel, runs the following inscription:
ť hronæs ban

   fisc . flodu . ahof on ferg (compound continued on next line) ť enberig

   warþ ga:sric grorn þær he on greut giswom Which may be interpreted as: ť "whalebone

    fish flood hove on mountain ť The ghost-king was rueful when he swam onto the grit"

The two alliterating lines constitute the oldest piece of Anglo-Saxon poetry: ť fisc flodu / ahof on fergenberig

   warþ gasric grorn / þær he on greut giswom

Left panel

The left panel depicts the mythological twin founders of Rome, Romulus and Remus. The inscription reads: ť oÞlæ unneg //

Romwalus and Reumwalus // twoegen ť gibroðær

a // fœddæ hiæ wylif // in Romæcæstri:. Which may be interpreted as: ť "far from home / Romulus and Remus, twain brothers / the she-wolf fed them in Rome-chester"

Rear panel

The rear panel depicts a scene from the First Jewish-Roman War and contains the inscription: ť her fegtaþ

   +titus end giuþeasu HIC FUGIANT HIERUSALIM ť afitatores

   dom gisl
   Which may be interpreted as: ť "Here fight / Titus and the Jews — here they flee Jerusalem / inhabitants / doom / hostage"

Right panel

This panel contains three more alliterating lines: ť herh os sitæþ on hærmberge

agl(ac) drigiþ swa hir i erta e gisgraf ť særden sorgæ and sefa tornæ

A definite translation of the lines has met with difficulty. Usually her hos sitæþ is read, "here sits the horse" (there is a horse in the panel, but it isn't sitting). Becker reads herh os, "the god of the wood". særden has various interpretations.

Becker

Becker attempts the translation: ť "the wood-god sits on harm's mountain"

"causing ill fortune, as Erta demanded" ť "they cause sorrow and heartache".

Which is dependent upon the translation of: ť risci / bita / wudu

"twig / biter / wood"

Webster

Leslie Webster translates the panels inscription as follows: ť "Here Hos sits on the sorrow mound"

"She suffers distress as Ertae had imposed it upon her" ť "A wretched den (?wood) of sorrows and torments of mind".

Lid

The lid shows a scene of an archer, labelled Ægili, single-handedly defending a fortress against a troop of attackers. A lady who is probably his wife or lover is also shown within the fortress. In Norse mythology, Egil is named as a brother of Weyland, who is shown on the front panel of the casket. The Þiðrekssaga depicts Egil as a master archer and the Völundarkviða tells that he was the husband of the swan maiden Olrun. The Pforzen buckle inscription, dating to about the same period as the casket, also makes reference to the couple Egil and Olrun (Áigil andi Áilrun).

Interpretation

Becker (1973 and web site) attempted to interpret the casket as a whole, finding a programme documenting a warrior-king's life and after life, with each of the scenes emblematic of a certain period in life. The front (f and g) panel stands for "birth" and assistance by the Fylgja, the picture and inscription on the left panel (r) meant to protect the hero on his way to war, the back panel (t) documenting the peak of a warrior-king's life is glory won by victory over his enemies, the right panel (s) alluding to a heroic death in battle.
The lid (æ) shows the Wayland brother Egil and his companion, a Valkyrie, defending Valhalla against the frost giants. Each scene corresponds with a certain rune in a definite position (f, g, r, t, s, æ, producing a value of 3 x 24). Becker also attempts a numerological analysis of the inscriptions, counting a total of 288 or 12 x 24 signs (runes, Latin letters and punctuation). The number of runes refers to a ten-year solar calendar while their value produces a lunar calendar. The mainly Latin formula ‘HIC FUGIANT HIERUSALIM’ produces a perfect Metonic cycle with all its leap years indicated by rune-like symbols.
As the two alliterating runes 'f' (feoh) and 'g' (gift) on the front panel can be understood as Old English feogift (bounty, largesse) and as the pictures of the Magi (bringers of "gifts") and of the mythical goldsmith (maker of trinkets etc.) express the same, the box may have served a king as his hoard box from he handed out his gifts to his followers in the hall. As the magic intention points to pagan practice, this ruler may have been the Northumbrian King Edwin (586-633).

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