Staring out from the glass cases of museums, a collection of small, intricately carved figures captures the imagination unlike many other medieval artifacts. These are the Lewis Chessmen, a remarkable hoard discovered centuries ago on a remote Scottish island, offering a tangible link to the Norse world that once dominated the North Atlantic. Crafted primarily from walrus ivory, these miniature kings, queens, bishops, knights, rooks, and pawns are not just game pieces; they are tiny sculptures brimming with personality and clues about life, art, and society in the 12th century.
Their story begins, like many great discoveries, somewhat shrouded in local lore. Around 1831, a man named Malcolm Macleod reportedly unearthed the hoard in a sand dune near Uig Bay on the Isle of Lewis in Scotland’s Outer Hebrides. The exact circumstances remain debated, but the find was substantial: 78 chess pieces, along with 14 plain discs (likely for the game of tables, similar to backgammon) and a belt buckle, all carved from walrus tusk and, in a few cases, whale tooth. This wasn’t just a lost chess set; it was a collection, perhaps the stock of a merchant, hidden away for reasons we can only guess at.
The Norse Connection: Material and Style
The choice of material immediately points northwards. Walrus ivory, harvested from the tusks of Atlantic walruses found in Arctic waters like Greenland and Iceland, was a prized commodity in the Norse world. Easier to carve than elephant ivory and more readily available to Vikings and their successors, it was used for high-status items, including game pieces, jewelry, and religious objects. The Lewis Chessmen represent one of the largest surviving collections of secular carvings from this period.
The style of the carving is distinctly Romanesque, typical of Northern Europe in the 12th and early 13th centuries. However, there’s a unique character to the figures. They aren’t merely generic representations; many possess individual expressions, postures, and details that make them feel surprisingly alive. Art historians generally agree that the pieces likely originated in Norway, possibly Trondheim, a major ecclesiastical and trading center known for its skilled artisans during that era. At the time, the Outer Hebrides were part of the Norse Kingdom of Mann and the Isles, making a Norwegian origin for luxury goods found there entirely plausible.
Meet the Players: A Cast of Characters
The chessmen are grouped into distinct types, reflecting the medieval European version of the game:
- Kings: Majestic and seated on ornate thrones, each king grips a sword across his lap. Their bearded faces are stern, conveying authority.
- Queens: Similarly enthroned, the queens often appear more contemplative or even anxious. Some hold drinking horns, while others rest a hand against their cheek in a gesture of thought or concern. Their expressions are remarkably varied.
- Bishops: These figures represent the church’s influence. Clearly identifiable by their mitres, most are seated, holding crosiers (bishop’s staffs) or books. A couple are depicted standing. Their presence highlights the integration of ecclesiastical power into the medieval social structure mirrored on the chessboard.
- Knights: Dynamic figures mounted on sturdy ponies, the knights wear helmets and carry shields and weapons (spears or swords). They embody the mounted warrior class, essential to medieval warfare and society.
- Rooks (Warders): Perhaps the most iconic and intriguing pieces. Instead of towers, the medieval rook was represented as a foot soldier or warder. Many of the Lewis warders are depicted as fierce warriors, shields held ready, swords drawn. Several are shown biting the tops of their shields in a frenzy – a possible depiction of the legendary Norse berserkers, warriors known for their battle rage.
- Pawns: Unlike the detailed figural pieces, the pawns in the Lewis hoard are simple, abstract shapes, mostly resembling small obelisks or tombstones. Nineteen were found, though a complete set would require more. Their plainness contrasts sharply with the characterful higher-value pieces.
The level of detail is astonishing for their size (most figures stand between 7 and 10 cm tall). Patterns on clothing, the designs on shields, the individual facial expressions – all speak to the skill of the carvers. It’s believed that several artisans, perhaps working in the same workshop, were involved in their creation due to subtle variations in style across the collection.
Verified Discovery Details: The hoard discovered around 1831 contained a total of 93 artifacts. These included 78 chess pieces, sufficient for almost four complete sets, alongside 14 ‘tables-men’ for the game of tables and one belt buckle. The vast majority of the pieces were carved from walrus ivory, with a few made from whale teeth.
Why Were They Buried? And Other Mysteries
The question of why such a valuable collection was buried in a remote sandbank remains unanswered. Was it a merchant’s hidden stock, lost during a journey or buried for safekeeping during troubled times, only for the owner never to return? Was it loot, hastily concealed? The lack of other contemporary artifacts found with them deepens the mystery. We also don’t know precisely which workshop produced them, although Trondheim remains the strongest candidate based on stylistic comparisons with carvings found there, particularly in Nidaros Cathedral.
Another puzzle is the missing pieces. Although 78 chessmen were found, this doesn’t equate to a precise number of complete sets. We are short one knight and four warders to make four full sets, and the number of pawns is far fewer than needed. Were some pieces lost during the burial or discovery, or was the hoard never intended to be four complete sets?
A Shared Legacy
Following their discovery and exhibition in Edinburgh, the Lewis Chessmen were acquired by the British Museum in London. This acquisition later became a point of contention, mirroring debates surrounding other significant cultural artifacts. Today, the hoard is split: 82 pieces reside in the British Museum, while 11 are housed in the National Museum of Scotland in Edinburgh. This division allows the chessmen to be appreciated by audiences in both London and Scotland, acknowledging their significance to both British and Scottish heritage, rooted deeply in the Norse past.
The Lewis Chessmen offer more than just aesthetic appeal. They are a window into the medieval North Atlantic world – a world of trade, warfare, faith, and artistry. They show us the games people played, the social structures they understood (king, queen, bishop, knight, soldier), and the materials they valued. The anxious queens, the stoic kings, and the wild-eyed berserker warders seem to convey the very human emotions and archetypes of their time. Their survival, against the odds, buried for centuries beneath the sand, allows us to connect directly with the people and culture of the medieval Norse world.
Their enduring popularity is evident. They have inspired countless replicas, appeared in films (including famously in ‘Harry Potter and the Philosopher’s Stone’), and remain a subject of fascination for historians, archaeologists, and the public alike. These small figures, carved from the tusks of Arctic giants, carry a weight of history far exceeding their physical size, forever guarding the secrets of their lost world.
