Medieval brooches and fibulae: history, typology, and the meaning behind the metal

A cape held against the wind, a fibula shining in torchlight: thus unfolds the great little story of an object that united form and function for centuries.

Why brooches and fibulae mattered in the Middle Ages

Brooches and fibulae were not mere fasteners: they were statements. They held cloaks, secured tunics, and at the same time, displayed the status, identity, and aesthetics of the wearer.

In a world where clothing was a visible social sign, a brooch could be an emblem of power, a religious piece, or an ornament that spoke of taste and regional origin.

In this article, you will learn to distinguish the main types, read their symbolism, understand the materials and techniques, and place them in a clear chronology from Protohistory to the Late Middle Ages.

Chronology: evolution from Protohistory to the Late Middle Ages

The material history of fibulae and brooches is a succession of technical and aesthetic adaptations. Below is a chronological guide that facilitates reading this evolution by epoch.

Epoch	Event
Protohistory (9th–1st centuries BC)
9th–8th centuries BC (late 9th – early 8th)	Elbow fibula “Huelva type” (subtype IIIb3) dated to this early period.
Late Bronze Age – Iron I	Predominance of ancient double-spring fibulae (six of the seven analyzed in El Berrueco).
8th–5th centuries BC (Iron I)	Most of the fibulae from El Berrueco; characteristic types: “Alcores type”, “Acebuchal type”, and “Bencarrón type”. Origin/entry of the Acebuchal type: c. 600 BC (Schüle) or entry into the peninsular south 525–450 BC (Cuadrado).
7th–3rd centuries BC	Almost exclusive concentration in the Peninsula of Hispanic annular fibulae.
Late 1st century BC – 5th century AD (approx.)	Persistence in the record of annular or “omega” fibulae of pre-Roman origin; appearance of E. Fowler’s Group B towards the 1st century BC and expansion from the 1st century AD.
Roman and Late Roman Antiquity (1st – 4th/5th centuries AD)
1st–3rd centuries AD	Three bronze pieces belong to the series of enameled bronzes datable to this period.
Second half of the 1st century AD	Frequent finds of pieces linked to loricae segmentatae in limes and military contexts.
Until the 4th century AD	Damasquining technique very common in Roman times; products sold until the 4th century. Damasquined buckle (no. 86/84/74) datable to the 4th century.
4th century – early 5th century AD	Materials from Castro Ventosa (including a Simancas-type knife) dated mainly to the 4th century.
Visigothic period and aquiliform fibulae (5th – 8th centuries AD)
Late 5th – early 6th centuries	More naturalistic aquiliform examples (close to prototypes like the Pietroasa fibulae); classified as Type A1 (Ripoll).
After the first third of the 6th century	Fibulae with total schematization of the design predominate; evolution towards more stylized formulas.
525–580 AD	Small oval buckles with solid rings and scutiform-based pins associated with the clothing of the early Visigothic period.
Advanced second half of the 6th century – early decades of the 7th century	Datable are the rigid belt plates of the Latin-Mediterranean group.
Towards 590–600 AD and throughout the 7th century	Diffusion of the original set of lyriform plates (“Trebizond”) in the Mediterranean; the lyriform-type belt buckle is mainly associated with the 7th century.
600/40 – 710/20 (Ripoll Level V)	Type C of aquiliform fibulae: schematic examples or with Kerbschnitt technique (Deza and Castiltierra types).
6th–7th centuries	Record of Merovingian disc fibulae with precious stones and filigree; moreover, Hispanic imitations of lyriform types are produced in the 7th century and endure beyond the defeat of Guadalete (711).
Middle Ages (Early and Late Middle Ages; 8th – 15th centuries)
Early Middle Ages	Disc fibulae over 5 cm in diameter were part of women’s trousseau in Europe; smaller examples were used by men from the Carolingian era onwards.
12th – mid-14th centuries	In the Castro de los Judíos, the second occupational phase begins from the 12th century; the 169 projectiles and pottery are located between the 12th and mid-14th centuries.
12th–13th centuries	Greater presence of horseshoe nails of the “violin key” type.
13th century	Small circular buckle brooch with laminar tongue (MAN-86/84/77) as a variant of medieval laminar tongue brooches; generalized use of lever shears with open eyes in medieval and modern contexts.
13th–14th centuries	Large buckles (MAN-86/84/85 to 89) dated to the 13th–14th centuries.
Second half of the 14th century	Small rhomb-circular buckle (MAN-86/84/75) dated to the second half of the 14th century.
14th–15th centuries (Late Middle Ages)	Identification of buckles and “T”-shaped pins characteristic of the Late Middle Ages (14th–15th centuries); in the advanced medieval period (14th century), an open documented hook also appears (fig. 3.8, Inventory of Roman Bronzes).
Late 15th century	Projectiles with tangs recovered at Valencia de Don Juan castle in contexts from the late 15th century.

Types and mechanisms: how to read the form

Reading a fibula is like deciphering a small engineering marvel: each curve and spring responds to a functional solution and a specific aesthetic.

• Penannular or Celtic fibula: crescent-shaped brooch with a movable pin; common in medieval insular art, large and richly decorated.
• Disc fibula: frequent in medieval women’s trousseau; disc ornamented with enamels, filigree, and gems.
• Crossbow or “omega” fibula: technical design with a spring that improves fastening; very common in Roman and Late Roman times.
• Aquiliform fibula (Visigothic): with zoomorphic inspiration and regional symbolism, very present in the peninsula during the 5th–8th centuries.
• Quoit or “ring” Germanic brooch: simple in appearance, effective; a ring with a central pin. Associated with Nordic and Germanic traditions.

How to distinguish by mechanism

The spring (or its absence) and the shape of the pin are key. A fibula with a crossbow spring indicates Roman influence; a long, curved pin may point to Celtic traditions.

The decoration does not always determine the function: a richly ornamented brooch can still serve a practical purpose.

Materials, techniques, and decoration

Metals and techniques tell part of the story. Bronze, iron, silver, and gold were the predominant materials. The choice depended on availability, status, and purpose.

Filigree, enamel, and cloisonné frequently appear in high-status pieces. Filigree requires the goldsmith’s skill; enamel adds color, and cloisonné allows for the inlay of shapes and gems.

• Bronze and iron: common in functional and everyday pieces; robust and practical.
• Silver and gold: reserved for elite jewelry; often combined with precious stones or garnets.
• Stones and enamels: used as a symbol of wealth and symbolic protection; their presence marked social difference.

Decoration and symbolism

The most common motifs include animals, plant motifs, religious emblems, and geometric signs. These representations could refer to tribal identity, devotion, or military status.

In the Early Middle Ages, richly decorated disc fibulae were visible female distinctive features; their design was carefully thought out to communicate belonging and prestige.

Quick comparison: types, epoch, and use

Type	Epoch	Characteristics	Use/Symbol
Penannular	6th–9th centuries	Large crescent, movable pin, plant or zoomorphic decoration	Indigenous prestige and functionality in cloaks
Disc	Early Middle Ages	Ornate disc, enamels, precious stones	Women’s trousseau and social distinction
Crossbow / Omega	Roman – Late Roman era	Effective spring, robust	Reliable fastening, military and civil use
Aquiliform	Visigothic (5th–8th centuries)	Bird designs, progressive schematization	Regional emblem and everyday use
Quoit / Ring	Germanic – Nordic	Ring with central pin	Functional simplicity, widespread use

Penannular

• Epoch: 6th–9th centuries
• Characteristic: Large size and complex decoration
• Use: Ceremonial cloaks and elite distinctive feature

How to identify replicas and historically inspired pieces

Today we see replicas that seek to transfer historical aesthetics to wearable pieces. To distinguish a faithful replica from a modern interpretation, it is advisable to review:

• Proportions and measurements: replicas usually respect forms, but they can simplify very fine details.
• Finishing technique: handmade work, patina, and filigree details usually indicate a more traditional finish.
• Material: many replicas use modern bronzes and alloys; solid silver pieces or those with complex enamels can be higher quality reproductions.

The replicas inspired by popular iconography (literature, cinema, series) facilitate connection with history. However, reading the piece with a critical eye allows appreciating the differences between a faithful creation and a stylized adaptation.

Available brooches and fibulae and how to choose

Choosing a brooch for a cloak or a tunic requires thinking about scale, weight, and style. A too-heavy brooch will deform the fabric; a too-delicate one will not withstand its practical function.

Tips for choosing:

• Think about the fabric: wools and dense fabrics allow for large brooches; fine linens require light fasteners.
• Aesthetic balance: if the garment is austere, an ornate brooch provides focus; if the garment already has embroidery, look for a more sober clasp.
• Technical compatibility: verify that the pin goes through and fastens without forcing the seam.

Care and maintenance: practical tips

Bronze and iron brooches require different care than silver or gold ones. Treating them according to their metal preserves valuable patinas and prevents damage.

• Bronze and iron: clean with a dry cloth and light oil to prevent corrosion; avoid prolonged immersion in water.
• Silver: gently polish with a specific cloth; if it has enamels or stones, avoid abrasive products.
• Stones and enamels: clean with a damp cloth, dry immediately; do not use aggressive chemicals.

Workshops, techniques, and the artisan’s mark

Traditional craftsmanship involves forging, soldering, and goldsmithing techniques such as filigree and damasquining. These processes confer identity to the piece: the artisan’s mark is visible in small imperfections that add historical verisimilitude.

Understanding how a fibula was made helps evaluate its historical fidelity and practical durability.

How they were used: practices and codes

The use of a brooch depended on the context: ceremony, battle, daily life. In some cases, they were displayed on the front of the cloak; in others, hidden by clothing but essential for fastening.

Iconographic motifs could communicate loyalty to a lord, religious affiliation, or ethnic belonging. Recognizing these signs offers clues for interpreting archaeological remains.

Legacy and why they continue to fascinate

Brooches and fibulae condense technique, aesthetics, and meaning. They connect us with daily practices and rituals that shaped identities in medieval Europe.

By observing a fibula, we see the synthesis of a need and an artistic will. This tension between utility and beauty is what keeps the fascination for these pieces alive.

If you are interested in delving deeper, observe the proportions, the material, and the technique. That will allow you to understand not only how a cloak was closed, but also who wore it and why.

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