In stark contrast to the previous article in which claims are made to know crescents more intimately than we might first imagine, it is worth mentioning the discovery of rare objects of ornament that have no clear explanation at all.
Exclusively in Scotland, with uncertain dating but believed to be over 2,000 years old, exquisite little hand held works of art have been found in the form of unusual, ornamented stone spheres. The very best of them, the Towie Ball, is meticulously engraved with some of the earliest known examples of an undeveloped predecessor to the Celtic spiral style that would ultimately develop in the region.
Beyond the skill and care placed in these small, hand-held objects from a people who left little but piles of stones, the occasional rock carving, and circles of standing stones, what is striking about the petrospheres is their curious variety. They have been compared to cells, atoms, and other things, but the real coup is how peculiarly unique they are in the scheme of world art. Nothing quite matches these, making them an apparently completely regional innovation.
No two it would seem are alike, and so this must be one of the defining features of these unique objects. It is said that for every one petrosphere in a museum, there are a hundred hidden away in private family collections, suggesting a tradition of secretly passing on these relics of the Scot’s pre-historic peoples. The Scots are well known for preserving aspects of the language and customs of a once expansive culture.
Many speculations have been made as to their use, from cooking stones to weapons, but scientists have found these speculations to be without evidence. Due to the unique character of them, it is fair to say that they were made by inventive, creative people with manual skill. And in their variation, we can guess that the makers sought to individualize them. What can be said, from a maker’s perspective, is that with the exception of the engraving done on the most exceptional, the balls all have in common the fact that they are made by filing.
We have observed in surviving shamanic cultures around the world today that one of the major roles of a witch, magician or healer, and a central part of material trade for them, is the production of amulets.
Amulet objects are visually crafted to possess unique, curious appeal, and this is the physical aspect that will be blended with reverence for the individual’s perceived power, with just as much invested presence as the physical and implied symbolic references the object might include. It follows that forms of amulet could possibly gain in popularity for similar reasons – because of the unique beauty of interest of the object, or because the place, or person is particularly admired, and another possibility is inherent, that the object is believed to be associated with some great or miraculous event. Much the way fans today seek to dress like their pop star idols, amulets are arguably more a matter of fashion than tradition or origination. In this way they are more like art objects than artifacts of cultural concreteness.
It is enjoyable to find something that has no clear explanation at all. The balls have no direct relation to anything left in stone carvings, the only record of the people who made these. The scientists can only go so far as to call them “status objects”. They have never been found in burials, which anthropologists suggest made them objects that did not belong to individuals. Much later than the dates of any of these spheres, we have examples among the Anglo-Saxon and Frankish peoples the practice of wearing smooth rock crystal spheres as amulets. These have been found in graves, and are known to have been worn by women, suspended from the belt on a chatelaine. Though the time and distance does not draw any direct correlation, these are examples of how a spherical amulet might be worn.
For now, the mystery of the petrospheres remains intact, the subject of household whispers and amusement, something to enjoy for not having a clear reason to exist, and connecting our own modern ideas of creativity to the impulses of people in the distant past.
Pages with more detail from Joseph Anderson’s Scotland In Pagan TImes: