Sutton Hoo helmet facts for kids
The Sutton Hoo helmet is a special helmet found in 1939 during an excavation at Sutton Hoo in England. It was buried around 620–625 CE as part of a ship-burial, which is like a grave for important people. Many experts believe it belonged to Rædwald of East Anglia, an Anglo-Saxon king. This helmet was not just for protection; its fancy decorations might have made it like a crown.
The helmet looks like a man's face with eyebrows, a nose, and a mustache. It also has a dragon's head that seems to connect to the man's face, making it look like a soaring dragon with wings. When it was found, it was in hundreds of broken pieces. It was first put back together in 1945–46, and then rebuilt into its current form in 1970–71.
The land owner, Edith Pretty, who found the helmet and other treasures, gave them to the British Museum. You can see the helmet there today in Room 41.
What is the Sutton Hoo Helmet?
The Sutton Hoo helmet is an amazing piece of history. It was buried with other important items in a ship-burial, likely in the early 600s. The ship was pulled up a hill from a nearby river and placed in a trench. The helmet, wrapped in cloth, was put near where the head of the buried person would have been. A large mound of earth was built over the ship.
Over time, the roof of the burial chamber fell in. This caused the helmet to break into many pieces. Luckily, because it shattered instead of being squashed, it could be put back together. If it had been squashed while the metal was still soft, it would have been much harder to fix.
Who Owned the Sutton Hoo Helmet?
People have wondered who was buried with the helmet almost since it was found. The most popular idea is that it was Rædwald of East Anglia, a king whose kingdom, East Anglia, was near Sutton Hoo.
Why do people think it was King Rædwald?
The main reasons people think the helmet belonged to King Rædwald are:
- The burial date fits with when he lived.
- There were many valuable and royal items found.
- There were signs of both Christian and pagan beliefs, which matches what we know about Rædwald.
What do we know about King Rædwald?
We don't know much about King Rædwald. Most of what we know comes from a book written by a monk named Bede in the 700s. Rædwald was the son of Tytila and grandson of Wuffa, who gave his name to the Wuffingas royal family.
Rædwald became king by at least 616 CE. Bede wrote that Rædwald helped Edwin of Northumbria defeat another king, Æthelfrith. Rædwald's wife convinced him to be honorable instead of taking a bribe. After this battle, Rædwald became very powerful. He was one of seven kings who ruled over much of England south of the River Humber. Later, he was called a "bretwalda," meaning "ruler of Britain."
Bede also wrote that Rædwald became a Christian during a trip to Kent. But when he came home, his wife convinced him to keep his old pagan beliefs too. So, he had a temple with two altars, one for Christian worship and one for pagan gods. Rædwald likely died sometime between 616 and 633 CE.
How do we know the burial date?
To figure out who was buried, we need to know the exact date of the burial. Thirty-seven gold coins found with the helmet help us with this. These coins were in a purse with three blank pieces and two small gold bars.
At first, people thought the coins were from 650–660 CE. This led them to think other kings were buried there. But later studies looked at how pure the gold in the coins was. Coins became less pure over time. This showed that the latest coins were made between 613 and 635 CE. This date range fits with King Rædwald.
What are "regalia"?
The burial had many items that looked like "regalia," which are symbols of a king's power. For example, the shoulder-clasps suggest a special ceremonial outfit. A large gold buckle was so heavy it was worth as much as a nobleman's life. Wearing it showed immense power. The helmet itself showed both wealth and power. One of its eyebrows might even have been designed to look like the one-eyed Germanic god Odin.
Two other items, a "wand" and a "whetstone," didn't seem to have a practical use. The wand was a gold and garnet strip, probably a symbol of office. The whetstone, usually for sharpening, was too fancy to be used. It had a carved head with a modified eye, similar to the Odin hint on the helmet. This suggests it was a ceremonial object, perhaps a sceptre (a staff carried by a king).
What is "syncretism"?
"Syncretism" means combining different beliefs. The Sutton Hoo burial shows both Christian and pagan influences. The ship-burial itself was a pagan practice. But some items had Christian symbols, like crosses on silver bowls and sword scabbards. Two silver spoons even had the names "Paulos" and "Saulos" (Paul) written on them, which are clearly Christian. This mix of beliefs fits with what we know about Rædwald, who had both Christian and pagan altars.
Could it have been someone else?
While Rædwald is a good guess, it's not 100% certain. The coins only give a date range of about two decades. Also, we don't know for sure if the wealth found was only for kings. Many other Anglo-Saxon graves have been lost or looted, so we don't have many examples of what royal graves looked like. It's hard to tell the difference between the graves of a king, a chief, or another very important person. So, Rædwald is possible, but not definite.
What does the Helmet Look Like?
The Sutton Hoo helmet weighs about 2.5 kilograms (5.5 pounds). It was made of iron and covered with thin, decorated sheets of bronze that were coated with tin. Grooved strips divided the outside into panels, each with one of five stamped designs. Two designs show people, and two show animal patterns. A fifth design is only known from seven small pieces and can't be fully restored.
How was the helmet made?
The main part of the helmet was an iron cap, shaped from a single piece of metal. Iron cheek guards hung on each side, protecting the face. They could be pulled close to the face mask with leather hinges. A neck guard was attached to the back of the cap, made of two overlapping pieces for movement.
The face mask was attached to the cap. It had two eyeholes and a third opening for the nose, which had small holes for air.
On top of the iron, decorative sheets of tinned bronze were added. These sheets had designs made using a special technique called pressblech. A thin metal sheet was pressed onto a carved die (like a stamp) to pick up the design. This allowed many identical designs to be made.
Grooved strips of a white metal (tin and copper) divided the designs into framed panels, held on by bronze rivets. The two strips along the top crest were gilded (covered in a thin layer of gold). The edges of the helmet were protected with brass tubing.
Finally, a crest, eyebrows, a nose and mouth piece, and three dragon heads were added. A hollow iron crest ran across the top of the cap, ending in gilded dragon heads at the front and back. A third bronze dragon head faced upwards on the front, connecting the face mask and cap.
Hollow bronze eyebrows were on each side of the dragon's neck. They had silver wires inlaid and gilded boar heads at their ends. The eyebrows were riveted on, connecting to a nose and mouth piece. This piece had small projecting plates, inlaid wire, and silvered triangles. Most of the nose and mouth piece was heavily gilded using a method called fire-gilding.
There are small differences between the two eyebrows. The right eyebrow is slightly shorter and has fewer silver wires and garnets. The gilding colors are also different. Also, the individual bronze cells holding the garnets on the right eyebrow have small pieces of "hatched gold foil" underneath, which makes the garnets shine more. The left eyebrow and one dragon eye don't have this backing. This difference might have made one eye appear dimmer in low light, possibly hinting at the one-eyed god Odin.
What are the dragon designs?
Three dragon heads are on the helmet. Two gilded bronze dragon heads are at each end of the iron crest. The third, at the front, faces upward and combines with the eyebrows, nose, and mustache to create the image of a dragon in flight. This dragon seems to soar upwards, with its garnet-lined wings looking like fiery trails. It even seems to bare its teeth at a snake-like dragon on the crest.
Most of the helmet's jewels are found on these dragon parts. Red garnets are set into the dragons' heads for eyes. The eyebrows also have square garnets on their undersides, ending in gilded boar heads. The silver wires in the crest and eyebrows, along with the silvery tinned bronze, made the helmet look like a magnificent, shining object with gold, garnets, and silver details.
Design 1: Dancing warriors
This design shows two men who look like they are dancing. They might be doing a spear or sword dance related to the god Odin. Each man holds two spears and crosses swords. Their movements suggest a rhythmic dance. This design is found four times on the helmet, including above the eyebrows and on the cheek guards.
Similar dancing scenes are found in old art from Scandinavia and Northern Europe, showing that these ritual dances were common. Ancient writers even described sword dances among Germanic tribes. A very similar design is on the Valsgärde 7 helmet in Sweden, and a small piece from Gamla Uppsala in Sweden is almost identical.
One of the Torslunda plates from Sweden also shows a similar figure with one eye missing. Since Odin lost an eye, this suggests the figures on the Sutton Hoo helmet are followers of Odin.
Design 2: Rider and fallen warrior
This design shows a warrior on horseback, holding a spear, trampling an enemy on the ground. The enemy tries to stab the horse with a sword. A small human-like figure kneels on the horse's back, holding the spear with the rider.
This design is found on eight parts of the helmet. It's thought to have been on twelve spots originally. Similar scenes are found on other helmets from Sweden (Valsgärde 7 and 8, Vendel 1) and on a brooch from Germany (Pliezhausen bracteate). The Pliezhausen piece is almost exactly like the Sutton Hoo design.
The meaning of this design is not fully clear. It might come from Roman art, where warriors often trampled enemies. But in Germanic art, the scene is more complex. The rider's horse is wounded, and the small figure might be a god like Odin, guiding the warrior but not fully protecting him from danger. This could mean the design is about fate.
Design 4: Larger interlace
This design is a pattern of intertwined ribbons forming a single animal. It's found on the cheek guards, neck guard, and skull cap. The animal's head is at the top center, with its eye made of two circles. The rest of its body is made of ribbons that twist and turn. This design is a classic example of Germanic "animal ornament" style.
Design 5: Smaller interlace
This smaller interlace pattern covers the face mask and is used on the neck and cheek guards. It's also an animal design, showing two animals upside down and reversed from each other. Their heads turn backwards towards the center of the panel.
What was the Helmet Used For?
The Sutton Hoo helmet was both a strong piece of armor for battle and a symbol of its owner's power. It would have protected the wearer's head very well. As the richest Anglo-Saxon helmet ever found, it clearly showed the owner's high status. Since it was about 100 years old when buried, it might have been a family heirloom, passed down through generations. It might even be an early form of a crown, showing a leader's right to rule and his connection to the gods.
We don't know if the helmet was ever used in battle. But even with its decorations, it was built to be functional. It covered the entire head, unlike other helmets of its kind, and had a face mask and a solid neck guard. The iron crest would have helped deflect blows. Small holes under the nose allowed for breathing. If the damage to the back happened before burial, and if King Rædwald owned it, then it likely saw some use in battle.
Beyond protection, the helmet showed the owner's high status. Helmets were very important in Anglo-Saxon England. They are often mentioned in the poem Beowulf, which is about kings and nobles. But very few helmets have been found today, even though thousands of graves have been excavated. This suggests that helmets were rare and worn by very important people.
The fact that the helmet was old when buried suggests it was an heirloom. In Beowulf, important swords are often heirlooms. The hero Beowulf himself gives his gilded helmet to his follower Wiglaf with his dying words. So, the helmet being passed down and then buried would have been a symbol of passing on titles and power.
The Sutton Hoo helmet is much richer than any other known helmet from that time. It came from a royal burial, at a time when kings were defined by their helmets and swords. Helmets might have become symbols of royalty, like crowns. Early European crowns, like the Holy Crown of Hungary, have a similar structure to some helmets, with bands across the brow and over the head. The one-eyed look of the Sutton Hoo helmet in low light might have suggested a divine right to rule, connecting the king to the gods.
How does it compare to other helmets?
The Sutton Hoo helmet is unique, but it's also connected to other helmets from Anglo-Saxon England and Scandinavia. It's one of only six known Anglo-Saxon helmets. But it's more similar to helmets found in Sweden at Vendel and Valsgärde. It also has strong links to the helmets described in the Anglo-Saxon poem Beowulf.
Other Helmets from England
{{gallery mode="packed" widths="300px" heights="300px" File:Benty grange helm crop.png|Benty Grange File:Shorwell helmet.png|Shorwell File:Coppergate Helmet YORCM CA665-2.png|Coppergate File:Pioneer Helmet.jpg|Wollaston File:Staffordshire helmet - cheek guard.jpg|Staffordshire }} The other known Anglo-Saxon helmets are different from Sutton Hoo in many ways. The Sutton Hoo helmet is the only one with a face mask, a fixed neck guard, or a cap made from a single piece of metal. Other helmets like the Coppergate, Shorwell, and Wollaston helmets had caps made of many pieces.
However, they do share some decorative details. The Wollaston and Benty Grange helmets had boar crests, similar to the boar heads on the Sutton Hoo helmet's eyebrows. The Coppergate helmet also has a crest and eyebrows that might imitate the silver wire inlays of the Sutton Hoo helmet. These similarities show that certain decorative ideas were common for a long time. The differences might just mean the Sutton Hoo helmet was for a king, while others were for less important people.
The Staffordshire helmet, which is still being studied, seems to be the most similar to Sutton Hoo. It also has decorated cheek pieces and was covered in pressblech foils, including a horseman and warrior design very much like Design 3 on the Sutton Hoo helmet.
{{gallery mode="packed" widths="300px" heights="300px" File:Vendel I helmet.jpg|Vendel 1 File:Vendel era helmet (942).jpg|Vendel 12 File:Vendel era helmet (950).jpg|Vendel 14 File:ValsgardeC.jpg|Valsgärde 5 File:Valsgärde 6 (Greta Arwidsson) - Taf. 1 - Helmet.png|Valsgärde 6 File:ValsgardeB.png|Valsgärde 8 File:Ultuna helmet 456673.jpg|Ultuna File:Gjermundbu helmet - cropped.jpg|Gjermundbu File:East Mound, Gamla Uppsala - helmet fragment.png|Gamla Uppsala fragment }} Scandinavian helmets are built more simply than the Sutton Hoo helmet. They don't have face masks or solid neck guards, and their caps are made of many pieces. Most used chainmail or iron strips for neck protection.
However, the decorations on the Sutton Hoo helmet are very similar to those on Scandinavian helmets. This is so true that it helped experts put the Sutton Hoo helmet back together. Some Scandinavian helmets even copy the silver wire inlays. Garnets are found on the Valsgärde 7 helmet, just like on Sutton Hoo. The pressblech designs are also very similar.
The Valsgärde 7 helmet is especially like the Sutton Hoo helmet. It has a similar crest, is "jeweled" with garnets, and has similar designs, including the dancing warriors and rider and fallen warrior scenes. The dancing warrior scene on the Valsgärde 7 helmet is so similar that it helped in the reconstruction of the Sutton Hoo design. A fragment from Gamla Uppsala in Sweden is even more similar, suggesting it might have come from a helmet like Sutton Hoo's, possibly from a Swedish king's burial.
Helmets from Ancient Rome
{{gallery mode="packed" widths="300px" heights="300px" File:Casque orné 4ème siècle Musée Novi Sad Colisée Rome Italie.jpg|Berkasovo 1 File:Roman cavalry helmet of Deurne.jpg|Deurne File:Emesa helmet.png|Emesa File:Ribchester Helmet c.jpg|Ribchester File:Elmo da ufficiale in acciaio, coperto di foglia d'argento, IV sec, da augusta-pfersee.JPG|Augsburg-Pfersee File:Roman helmet.jpg|Witcham Gravel }} The Sutton Hoo helmet also has roots in Roman helmets from the 300s and 400s CE. Its crest, solid cap, neck and cheek guards, and face mask are similar to these older Roman helmets. The one-piece cap, which is unique among Anglo-Saxon and Scandinavian helmets, comes from an ancient Greek and Roman technique.
The solid iron cheek guards and neck guard also come from Roman styles. The Witcham Gravel helmet from the 1st century CE has a similar deep neck guard. The face mask on the Sutton Hoo helmet, which is rare for its time, is also found on Roman helmets like the Ribchester Helmet and the Emesa helmet. Even the idea of a leather lining inside the helmet, though hard to prove, is common in late Roman helmets.
Many of the Sutton Hoo helmet's decorations also come from Roman practices. Its tinned (silvery) surface is like the Berkasovo helmets. The use of precious stones, like the garnets, might have come from Roman helmets that used gems. Even the visible rivets on some crested helmets might have been inspired by Roman designs.
How does it relate to Beowulf?
The discovery of the Sutton Hoo ship-burial changed how people understood the old English poem Beowulf. For a long time, the descriptions of warriors and their halls in Beowulf were thought to be made up. But the Sutton Hoo finds showed that these descriptions were very real.
Helmets are described in great detail in Beowulf. The boar images, crest, and visor on the Sutton Hoo helmet all match descriptions in the poem. The helmet's shining white and jeweled look also fits. While no single helmet in Beowulf is exactly like Sutton Hoo, the many similarities show that the poem's descriptions were based on real objects.
Beowulf mentions helmets with boar designs five times. Some have boar shapes on the cheek guards, like the Sutton Hoo helmet. Beowulf himself wears a "white helmet... enhanced by treasure" before fighting Grendel's mother, which sounds like the tinned Sutton Hoo helmet. Other helmets in the poem have a freestanding boar on top of the crest, like the Benty Grange helmet.
The silver inlays on the Sutton Hoo helmet's crest also match a description in Beowulf. A helmet given to Beowulf is described as having a "band lapped with wire" around its crest. Before the Sutton Hoo helmet was found, this part of the poem was confusing. But the helmet showed that the crest was indeed "wire bewound," meaning bound with wires. This kind of crest would have protected the wearer from sword blows.
The Sutton Hoo helmet also has a face mask, which is unique among Anglo-Saxon and East Scandinavian helmets. In Beowulf, words like "battle-mask" and "war-mask" suggest the use of helmets with visors. The term "war-head" is especially fitting for the Sutton Hoo helmet, with its detailed forehead, eyebrows, eye-holes, cheeks, nose, mouth, chin, and even a mustache!
How was the Helmet Found?
The Sutton Hoo helmet was found over three days in July and August 1939. This was just three weeks before the ship-burial excavation ended. It was found in over 500 pieces, which was less than half of the original helmet.
The archaeologist C. W. Phillips wrote in his diary about finding "the crushed remains of an iron helmet" with "embossed ornament," "gold leaf," "textiles," and a "face-piece consisting of a nose, mouth, and moustache."
At first, the helmet's shattered state meant its importance wasn't fully realized. No photos were taken of the fragments where they were found, and their exact positions weren't recorded. This made putting it back together like a "jigsaw puzzle without any sort of picture on the lid of the box," and with many pieces missing.
However, the helmet quickly gained attention. Even before all fragments were dug up, newspapers described it as a "gold helmet encrusted with precious stones" and later as having "elaborate interlaced ornaments in silver and gold leaf." Despite being "crushed and rotted," it was seen as one of the "most exciting finds."
How was it donated to the British Museum?
Under the law at the time, gold and silver found hidden underground, with no known owner, belonged to the crown (the king or queen). This was called "treasure trove." But items with only small amounts of gold or silver, like the Sutton Hoo helmet, belonged to the landowner, Edith Pretty.
An official meeting was held on August 14, 1939, to decide who owned the other items. The jury decided that the objects were not "treasure trove" because they weren't secretly hidden. So, they all belonged to Edith Pretty. Within days, she generously donated everything to the British Museum. This was the main way the museum could get the finds.
The excavations ended on August 24, 1939. The items were shipped out the next day. Nine days later, Britain declared war on Germany. The treasures were stored safely in a tunnel under London during World War II. In late 1944, work began to unpack and restore them.
How was the Helmet Reconstructed?
The first reconstruction (1945–1946)
The helmet was first put back together by Herbert Maryon between 1945 and 1946. He was an expert in old metalwork and worked for the British Museum. His job was to restore the difficult finds from Sutton Hoo, including the helmet.
Maryon started by carefully studying each fragment. He traced them and sorted them by their decorations and thickness. After a long time, he began to put them together using glue. He held the pieces in a box of sand while the glue dried. Then, he placed them on a plaster head he sculpted, adding layers to make space for the helmet's original lining. He used plaster to permanently attach the fragments and fill in the gaps.
Even though this first version looks different from the one we see today, it was very important. It showed the general shape and designs of the helmet.
Finding more pieces (1965–1970)
In 1965, a second excavation began at Sutton Hoo to answer questions left from the first dig. One goal was to find any fragments that might have been missed in 1939, especially for the helmet. The first excavation was done quickly because of the war, so some pieces might have been accidentally thrown away.
Four new helmet fragments were found during this re-excavation. These pieces helped to complete a hinge on one of the cheek guards. The lack of large crest pieces also made experts question if the crest in the first reconstruction was too long.
The current reconstruction (1971)
The helmet we see today was put together by Nigel Williams in 1971. He was in his mid-20s when he did this amazing work.
In 1968, because there were still problems with the first reconstruction, it was decided to take the helmet apart and rebuild it. Williams carefully removed the cheek guards, face mask, and neck guard. He X-rayed them to see the wire mesh and plaster underneath. Then, he slowly separated each fragment, chipping away the plaster with special tools. The skull cap was cut in half, and all the pieces were separated. This process took four months, leaving the helmet in over 500 pieces. Williams said it was "terrifying" to see such an important object in so many fragments.
After taking it apart, Williams started rebuilding. He found new ways to join pieces by looking at the backs of the fragments, which had a unique texture from the old leather lining. He built the skull cap outwards from the crest, helped by realizing that only the strips around the crest were gilded. The cheek guards were also reshaped and made longer.
Once a good idea of the original helmet's shape was clear, the fragments were placed on a plaster dome. They were held with pins while a mix of jute and adhesive was molded to fill the missing areas. The edges were coated with resin, and plaster was smoothed over the surface. The plaster was painted light brown to show the fragments clearly.
On November 2, 1971, after 18 months of work, the current Sutton Hoo helmet was put on display.
What is its cultural impact?
The 1971 reconstruction was highly praised. In the decades since, the helmet has become a symbol of the Middle Ages, archaeology, and England. It appears on book covers and has inspired artists and filmmakers. It has helped people understand that the "Dark Ages" were actually a time of great skill and art.
The helmet brings to life the descriptions of warriors and mead halls in Beowulf, which were once thought to be just stories. It helps us imagine the Anglo-Saxons in post-Roman Britain. In 2006, it was voted one of the 100 cultural icons of England.
Are there any errors in the current reconstruction?
Even though the current reconstruction is amazing, it has a few small inaccuracies, mainly with the neck guard. Some fragments on the neck guard are placed based on guesses, so their exact positions might not be perfect.
For example, some design fragments are placed too high on the neck guard, making the spaces above and below them uneven. Also, it's not certain how many vertical strips of design 5 were used. The neck guard also hangs lower than it would have originally. These small issues have been corrected in the Royal Armouries replica.
The Royal Armouries Replica
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In 1973, the Royal Armouries worked with the British Museum to make a copy of the newly restored Sutton Hoo helmet. The museum provided plans and copies of the decorative parts.
The replica was very close to the original, but it had some differences, like a solid crest and different ways of inlaying the silver. These differences made the replica heavier than the original.
The finished replica was shown off in a dramatic way in September 1973. The lights were dimmed, and Nigel Williams walked down an aisle holding a copy of the Sutton Hoo whetstone. Then, Rupert Bruce-Mitford, wearing the replica helmet, recited lines from Beowulf.
The replica helped to clarify details about the original helmet and showed what it looked like when it was new. It could also be worn and tested, which the original could not. For example, the replica showed that the neck guard would have fit inside the cap, allowing it to move more freely. This showed a small inaccuracy in the 1971 reconstruction.
The replica also corrected another error in the neck guard's design. It showed that the helmet, though a bit stuffy, could be worn in battle and would make the wearer's voice sound strong. Most importantly, the replica showed the helmet as a shining white object, not a rusty brown one. This helped to illustrate the lines in Beowulf that talk about "the white helmet... enhanced by treasure."
The replica is now displayed at the British Museum next to the original helmet in Room 41. It has also traveled and been shown around the world.
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