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18/03/2024

Several years ago, a trove of golden treasures and artefacts was discovered in Vindelev, Denmark (near the famous royal site of Jelling). The finds from the site are many and fascinating, and now one of the more significant findings may have been noted: the earliest known mention of Wodanaz—later known as Odin—the old Nordic god of war, kings, poetry, and magic.
Among other things, the gold hoard contains numerous bracteates. A bracteate is a type of round, flat medallion probably used as a marker of status in the Migration Period and Vendel Period of Scandinavia (c. 375-750 AD). They are made of or plated in gold, and typically feature a large face in the centre surrounded by naturalistic, mythological, and geometrical motifs. A minority of these also feature runic inscriptions in the Elder Futhark script, used to write the language we know as Proto-Norse. Such is the case in the bracteate featured above. The main image depicts man with a long, elaborate hairstyle riding a horse, featuring also a semi-circle and a sw****ka (a fairly common image on these artefacts). So far, so common. Making it slightly less common are the aforementioned runes; and making it truly remarkable is the name of the great god himself.
Prior to this find, the earliest-known mention of Odin was from the late 6th c. AD. The bracteate from Vindelev, however, dates to the early 5th c., beating the previous record by the better part of 200 years.
The full meaning of the runes cannot be fully understood owing to the degradation of part of the inscription over time. What can be told is that the figure in the image is not, apparently, meant to be Odin himself; rather it depicts a powerful man who went by the name of Jagaz, who is described as “Odin’s man”.
We cannot, as of yet, know exactly how closely the Nordic cult of the Migration Period resembled the Nordic mythology of the Viking Age. But this find shows that by this early stage, Odin was already becoming a significant player in it—at least as far as the elite stratum of society went.
Text: Christopher Nichols. Copyright 2023 Scandinavian Archaeology.
Image: Nationalmuseet (Arnold Mikkelsen).

15/03/2024

Three distinctive golden “collars” (“krage” in Swedish) of the type pictured above have been recovered from Sweden: one in both Ålleberg and Möne, in Västergötland, southwestern Sweden; and one in Färjestaden, Öland, an island off the southern coast. All three artefacts date to the Migration Period (c. 375-550) of the mid-Iron Age, and are the only intact examples known from all Scandinavia. They consist of stacked, hollow rings in different circumferences; the largest at the bottom, smallest at the top, creating a conical shape. The collars are likely a development from a pre-existing fashion of simpler neck rings stacked on top of each other.
The rings are not true rings, as the collars were made in two halves, connected by a hinge mechanism in the back which allowed them to be opened and closed around the neck. In the front, one half terminates in pointed ends and the other in hollow openings for these to slot into, as such closing the collar fully and connecting the “rings”. The rings themselves are decorated with golden thread and beads, and between them there are figurines and human faces measuring 0.2-0.8 mm across. The level of detail in these miniscule images is astounding.
The three Swedish collars differ in various ways. The Ålleberg collar has three rings, thicker than than the other two, and the most realistic decoration. The Möne collar is the largest with a full seven rings, but a much simpler decor. It is also less carefully made, with less attention given to the proportions of the collar compared to the other two, made to a much stricter design. Lastly, the collar from Färjestaden is regarded as the most technically advanced of the three, with its five pipes and much smaller details.
Even though the collars are unique, there are similarities between them and contemporary artefacts. A piece of a single hollow neck ring with similar decoration was found in Köinge, Halland (also southwestern Sweden), and several of these have also been found in Denmark.

Text: Anna Sunneborn Gudnadottir. Copyright 2023 Scandinavian Archaeology.
Images: Möne collar; Färjestaden collar; Ålleberg collar (all Statens Historiska Museum).

13/03/2024

A destroyed grave dating from the Late Iron Age (c. 400-1100 AD) in Tennstopet, Örebro, Sweden contained the skeletal remains of a man who had faced down a sword, and lost. This fragment from the front of his skull, specifically, the top left part of the eye socket, has a very clear cut mark (indicated in red) slicing straight through the bone. The wound shows no signs of healing which indicates—in case there was any real dispute about this—that the wound was probably a fatal one.
By analysing the details of this cut, we can recreate quite a bit about this man’s last moments. Specifically, the cut is smooth with no associated cracking . This means that the weapon used was a sharp, thin blade—nothing so heavy as an axe, which while perfectly capable of cutting bone also tends to leave significant blunt- in addition to sharp-force trauma in the vicinity of the wound. Based on the time period and the culture in which the man lived, the weapon used was most likely a sword (or perhaps a seax/long knife). The bone was also fresh when cut, which implies that the man was most likely alive before the sword came towards his face; based on the position of the cut, however, it is fair to guess that the man was not alive for much longer afterward.
While it may be impossible to know the exact circumstances that led to this man facing down a sword, it does suggest it may still be worth practising dodging sharp objects—just in case.
Text: Cindy Levesque. Copyright 2023 Scandinavian Archaeology.
Image: Ola Myrin (SHM; Swedish History Museum). CC BY 4.0.

06/03/2024

Þat mælti mín móðir,
at mér skyldi kaupa
fley ok fagrar árar,
fara á brott með víkingum,
standa upp í stafni,
stýra dýrum knerri,
halda svá til hafnar
hǫggva mann ok annan,
hǫggva mann ok annan.

My mother told me
Someday I would buy (buy)
Galleys with good oars
Sails to distant shores
Stand up on the prow
Noble barque I steer
(Steady) Steady course to the haven
Hew many foe-men
Hew many foe-men

– Egils saga, Lausavísur, ch. 40. (Scudder & Óskarsdóttir, 2002)

The song “My Mother Told Me” (“Þat mælti mín móðir” in Old Norse), is a song dating to at least the 9th c. AD, though today it may primarily be known to many via the TV series “Vikings”. The song captures the aspirations of the age, ambitions to sail off to distant lands and explore. The Scandinavians of the Viking Age were facing a variety of economic, political, and social pressures at home, all of which led many of them to venture abroad. There are many examples that fit into the understanding of this hymn, and it serves as a great reminder of the reality of some of the Viking Age people.

This song may hold great insight into Old Norse society, marking a time when they had to fight for their place in society, whether in Scandinavia itself or overseas. The lyrics reflect the central importance of those now-famous migrations of Viking Age culture, and the emphasis placed on this aspect even at a young age. In many ways, they were successful: as explorers and questers after fame and power, those Vikings who were successful not only gained prestige at home, but they left their mark upon the world.

The hymn is thus highly relevant to the study of the age, as it captures an element of this society that remains integral to the modern perspective on the Vikings. Its fitting into the popular TV series “Vikings” is testament to this. Archaeology and history often have a way of portraying the Viking Age that is different than that of the popular media, but in this, at least, they are in agreement.

Text: Martine Kaspersen. Copyright 2023 Scandinavian Archaeology.
Image: Kelly Lacy.

04/03/2024

The so-called Hvoshcheva sword (named for the village in Ukraine near to which it was found in the late 1800s) is something of an enigma. The sword bears many of the hallmarks of a classic 'Viking sword': a straight, double-edged blade measuring just shy of 70 cm, a narrow crossguard, a grip for a single hand. But it is also quite distinctive, and shows influences from a number of different cultural traditions.
The decoration of the hilt is likely what immediately catches the eye and sets it apart from many of its contemporaries. The decorations on the bronze pommel and crossguard are distinctively Scandinavian, best resembling the "Ringerike" style. The shape of the pommel, however, is uncommon for Viking Age swords, and for this reason it was initially believed to represent a Slavic design. It was also suggested that the blade bore the remains of an inscription in the Cyrillic alphabet.
However, the alleged Cyrillic inscription has been called into question under closer examination. Moreover, later finds of sword parts from Skåne, southern Sweden (part of the Danish realm in the Viking Age) provided much closer parallels to the Hvoshcheva sword, and as a result, the Slavic hypothesis has now largely been abandoned.
But these swords still do not closely resemble any other finds from Scandinavia itself; rather, their strongest resemblance is to late Anglo-Saxon swords. Now, during this period there was a strong Scandinavian presence in England, and it is now argued that these swords were in fact created in the Danelaw (those parts of England under Danish control) by a Scandinavian smith under the influence of local English traditions; alternatively, in Skåne by a smith who had knowledge of the English style. The handle is further engraved with Irish motifs, strengthening the hypothesis of a British origin for the sword.
Either way, the Hvoshcheva sword was a long way from home by the time it was laid to rest in Rus'. It thus demonstrates two important characteristics of the Viking expansion: they travelled far, and they picked up new trends wherever they went.
Text: Christopher Nichols. Copyright 2023 Scandinavian Archaeology.
Image: Kirpichnikov, A.N. 1970. Connection between Russia and Scandinavia in the 9th and 10th centuries, as illustrated by weapon finds, Varangian problems. Scando-Slavica, Supplementum I. Copenhagen.

03/03/2024

On June 1, 1676, the mighty Stora Kronan—flagship of the Swedish Navy—was sailing south through the Baltic on her way to engage the enemy fleet of the Danes and Dutch. Alas, she would never see combat. At noon on the day of the battle, Kronan took a too-sharp turn that plunged her into into the depths. An explosion in the powder magazine sealed the fate of nearly the entire crew, sinking the man-o'-war before the battle was even joined.
Exactly what caused Kronan to list and go down has never conclusively been answered, but this type of accident is not uncommon. Even experienced sailors can fall make bad decisions or fall victim to the elements. But osteological investigation of the crew's remains turned up evidence of something more sinister—and bloody—taking place on board the warship shortly before she capsized.
Today, guest writer and osteologist Cindy Levesque explores the bloody mystery of Stora Kronan, and the osteological traces of the carnage that took place in her final moments.

Read here:
https://www.scandinavianarchaeology.com/the-stora-kronan-man-o-war-mystery/

Image: Reconstruction of Stora Kronan by Admiral Jacob Hägg (1909).

29/02/2024

Calling all skalds, scholars, and scribes! Scandinavian Archaeology is now on the hunt for two new writers to join our team.

As a writer, you would be required to submit four short pieces per month to be published on our social media feeds, with a rough length of 1000-2000 characters each. These pieces might be about a specific artefact, or site, or concept in the long scope of Scandinavian history and prehistory, or about an exciting new find or development within the field. You would also be required to submit one longer form piece every several months to be published on our homepage. Anything extra—and we always encourage that sort of eagerness!—is entirely up to you.

Aside from keenness and a passion to write about Scandinavian archaeology for a public audience, we are looking for someone who can work independently while keeping to a monthly deadline. Overall, you will be flying solo on your submissions, so the ability to keep to a schedule without supervision is a must. You will also be responsible for coming up with your own topics, so a broad range of interests and willingness to learn new subjects are highly useful.

As for requirements, our only stipulation is that you must have—or be in the process of obtaining—a Bachelor’s degree in archaeology from an accredited institution. We will also consider those with a formal education in history, though preference will be given to those with an archaeological background.

Ask present, the position—like all positions at Scandinavian Archaeology—is unpaid. However, our publication is growing rapidly and we hope to be able to offer compensation in future. For the time being, though, this is a labour of love for all of us.

If this sounds like the right sort of job for you, and if you think you’re just the right one to do it, please contact us with a CV and a personal letter at [email protected] on or before 15 March. Soon thereafter, we will be in contact with prospective applicants to arrange interviews.

We hope to hear from you! All best from the team at Scandinavian Archaeology—a team we hope to welcome you to soon.

16/02/2024

Glasses today are used by many of us and have in modern times gone from something dorky to a fashion statement; not only do they help us to see, but they also reflect our personal style. However, this has not always been the case. Besides to assist in seeing, historically glasses were used to also symbolise intellect, wisdom and knowledge, something that still partly holds true today. But when did glasses begin to be used, and by whom?

Well, we do not know who invented glasses, but evidence suggest they started to be in use during the end of the 13th century, largely by monks, priests and the aristocracy, so namely only by the literate in society. This was the original sole purpose of glasses; to assist in reading and writing as they could only help people who had difficulties in viewing things that were closer, instead of far away (in modern terms, far-sighted). When the printing press was developed in the 15th century, more books started to be distributed, and naturally, the request for glasses increased as more people in society had access to them.

The early glasses were of a type that were pinched to the nose and did not have any frames to keep them in place. The best position when reading was therefore to sit with one's head slightly bent back.

The glasses on the picture were found at Alvasta monastery in Östergötland, Sweden, and are made from bone. The lenses are missing as well as one of the sides, but we can still imagine a monk sitting in the light of a dancing flame, reading a manuscript, slightly tilted backwards.

Photo: Statens Historiska museer.
Text: Copyright 2021 Scandinavian Archaeology.

14/02/2024

It may not be a glass slipper, but this shoe still tells a story of love.
The stylish shoe pictured above was discovered in Bergen, Norway, and has been dated to the late-12th c. AD. The type is called a turnshoe, made of two pieces of leather, and this example features the pointed tip so fashionable in the Middle Ages. The leather has preserved remarkably well after 800 years—so well, in fact, that archaeologists were able to discern that the shoe features a runic incision.
During the Middle Ages, runes were still in common use throughout much of Scandinavia. However, by the start of the medieval period, the common runic alphabet called the Younger Futhark had evolved considerably different forms in different regions. The incision on the shoe from Bergen was written in a form called “short-twig” runes, simpler and therefore easier to inscribe than the standard Younger Futhark.
What makes this runic inscription especially unusual is that it is not written in Old Norwegian, but in Latin. The surviving segment of the shoe features the words “omnia vincit amor”—or, in English, “love conquers all”. The famous phrase comes from Bucolica, a text written by the Roman poet Virgil in 40 BC. But this is only the first half of the phrase, which concludes “...et nos cedamus amori”. Altogether, the phrase means “love conquers all, and so let us surrender to love”. Since the word “et” also appears on the Bergen shoe, it is possible that the matching shoe (sadly, not preserved) finished the sentiment in full.
Examination of the incision of the runes suggests that the letters were originally embroidered with eye-catching silk, meaning that the wearer of the shoes would be proudly displaying their romantic heart on their sleeve—or, rather, their feet—for all to see. It also meant that these shoes were an expensive statement of love. We like to hope that it worked!
Happy Valentine’s Day from us to you!

Text: Christopher Nichols. Copyright 2021 Scandinavian Archaeology.
Image (original): Bergen Universitetsmuseet.
Image (reproduction): Ken Stuart ([email protected]).

12/02/2024

Proving that great power can be held in small things, we present the Ulvsunda sheet (Ulvsundablecket). Dating to the Viking Age, the object is no bigger than a fingernail at about 2 cm (0.8 inches) in width—yet features runic inscriptions on both sides, with over thirty separate runes crammed into that space. In order to fit all of the runes, the size of each rune is only a few millimeters, and difficult to distinguish with the naked eye. And it is possible these runes had a magical purpose: to prevent the dead from rising.

The inscription, like so many other runic texts, can be interpreted in a variety of ways. Due to the small size and damage to the sheet, parts of the inscription are difficult to translate or distinguish. An example of this is the word “skaði”, which can translate into harm or misfortune, but also murder, bane, or death. However, the most likely translation of the inscription on the sheet reads as follows:

"Do not be over-lively abroad ( = out of the grave), ghost!

May the evildoer get woe!”

Based on this translation, and the interpretation of “abroad” within the context, the inscription may be a spell or incantation, preventing the dead from coming back to life. It is especially intriguing giving that it was found within a grave mound and, was likely directed toward the individual buried within: perhaps this tiny sheet was infused with magic intended to prevent the rise of a draugr?

Alternatively, it is possible that the sheet was part of a protective talisman worn by the deceased person in life. Based on the size, it may even have been sewn into a garment.

Translations: Samnordisk runtextdatabas

Images: Christer Åhlin, Matthias Toplak, and Ola Myrin, Statens Historiska Museum

Text: Molly Wadstål, Copyright 2021 Scandinavian Archaeology

10/02/2024

Calling all skalds, scholars, and scribes! Scandinavian Archaeology is now on the hunt for two new writers to join our team.

As a writer, you would be required to submit four short pieces per month to be published on our social media feeds, with a rough length of 1000-2000 characters each. These pieces might be about a specific artefact, or site, or concept in the long scope of Scandinavian history and prehistory, or about an exciting new find or development within the field. You would also be required to submit one longer form piece every several months to be published on our homepage. Anything extra—and we always encourage that sort of eagerness!—is entirely up to you.

Aside from keenness and a passion to write about Scandinavian archaeology for a public audience, we are looking for someone who can work independently while keeping to a monthly deadline. Overall, you will be flying solo on your submissions, so the ability to keep to a schedule without supervision is a must. You will also be responsible for coming up with your own topics, so a broad range of interests and willingness to learn new subjects are highly useful.

As for requirements, our only stipulation is that you must have—or be in the process of obtaining—a Bachelor’s degree in archaeology from an accredited institution. We will also consider those with a formal education in history, though preference will be given to those with an archaeological background.

Ask present, the position—like all positions at Scandinavian Archaeology—is unpaid. However, our publication is growing rapidly and we hope to be able to offer compensation in future. For the time being, though, this is a labour of love for all of us.

If this sounds like the right sort of job for you, and if you think you’re just the right one to do it, please contact us with a CV and a personal letter at [email protected] on or before 29 February. Soon thereafter, we will be in contact with prospective applicants to arrange interviews.

We hope to hear from you! All best from the team at Scandinavian Archaeology—a team we hope to welcome you to soon.

07/02/2024

Today is not an ordinary day because since 1993, 6 February has been the national day of the Sámi people!
We would like to commemorate this in our own way by telling you about the noaidi, otherwise known as the "Sámi shaman".
The noaidi was a very influential and multifaceted person in Sámi society, credited with powers in medicine and divination and functions as a healer and protector. They were also called upon in everyday tasks such as marriage questions and reindeer husbandry. The knowledge of these things and the power that came with them were inherited through generations of oral traditions. The noaidi was most commonly a man, but could occasionally be a woman as well.
The noaidi also had a religious function as the mediator between humans and spirits. The most important tool for the noaidi was a special drum, which was used to conduct out-of-body travel with the "free soul". The free soul was a spiritual element which was able to travel between our corporeal world and the spiritual realm.
The noaidi used free soul travel when a member of the community came with a question or dilemma they needed help with, whether that would be health, hunt, relations, etc. The noaidi would then travel to the spirit world and ask what type of sacrifice the person in question needed to make in order to get help with their problem.
This sacrifice was made to reestablish the balance between the human world and the spirit world, the mortal and immortal.
The majority of the noaidi practice disappeared during the 17th century with the Christian colonisation of Finland, as the practices were seen as witchcraft and there was no freedom of religion to be had. Many noaidi were brought before courts and sometimes even sentenced to death during this period. Oral traditions were thus halted, and so much of what we know about the old noaidi today comes from court protocols, tales, excavations, and missionary reports.
During the Sámi national day, it is therefore important to remember and celebrate the Sámi heritage, a heritage which was for so long denied them.
Lihkku sámi álbmotbeivviin!

05/02/2024

Between the years 1862 and 1912, a hoard of prestige artefacts was recovered from a hill near Åker, Hamar, in Norway. This hoard, dated to the Late Iron Age (c. 300-1100 AD), contained fifteen different artefacts of high quality, and likely belonged to a distinguished individual possessing large amounts of power and wealth. Archaeological excavations were conducted once again in 1992, during which sixty more objects were discovered.
One of the most exciting finds from Åker was a gilded silver and bronze belt buckle, dating back to approximately 575 AD (the early Vendel/Merovingian Period). The red stones so characteristic of this time period are garnets, but it also features several inlays of glass, another precious material in its day. The decorations of the buckle feature a man in transition: half man, half boar, surrounded by snakes and eagles. The detail of this decoration is so fine and intricate that it must have been crafted by a smith that had truly mastered his art. Only one buckle with these decorations has been recovered, indicating that it was not only an object of high status, but likely not produced in large quantities—perhaps specially made for a specific person.
This beautiful belt buckle can be seen on display in the Cultural History Museum in Oslo.
Photos: Eirik Irgens Johnsen, Kulturhistorisk museum, Universitetet i Oslo.
Text: Molly Wadstål. Copyright 2021 Scacndinavian Archaeology.

02/02/2024

Norrby stenar is a grave field dating to c. 500 AD (at the tail end of the Migration Period; c. 300-550 AD), located on an esker close to Hallsberg in Närke, Sweden. The gravefield consists of four large stone circles, as well as some free-standing stones. Norrby stenar has at times been described as the most monumental gravefield in Svealand (that is, the historical name for the large region in south-central Sweden). The biggest stone circle measures 18 m in diameter and consists of nine massive stones, the largest of which measures over 2 m in height.
Stone circles saw a rise in number near the end of the Nordic Bronze Age (c. 2000-500 BC) and became especially common during the Migration Period. During the medieval period, it was believed that Norrby stenar had once been the site of a ting (a communal assembly site where legal judgments would be made), hence the stone circles’ alternate name of domarringar, or “judge circles”. It was speculated that on each of the stones a judge would sit, and the reason the stones were always an odd number, usually seven or nine, was so there would always be a majority in the decisions that were taken. However, there is no archaeological or textual evidence of this kind of usage, but rather there are signs of them being cremation burials, or secondary burials—however, they are usually sparse in the artefacts that would often be found in graves.
In addition to the stone circles, the grave field has some 21 individual standing stones. The current theory is that these are remnants of earlier stone circles that were later dismantled or destroyed.

Text: Anna Sunneborn Guðnadóttir. Copyright 2023 Scandinavian Archaeology.
Image: Wikimedia Commons.

31/01/2024

Ask the National Romantics, and the view of the Viking was as a valiant, masculine warrior hero. Ask the people that had the misfortune of being the Vikings’ targets, they were terrifying, ra**ng, plundering villains. Both images have to some extent survived to the modern day, but while they draw different conclusion, warfare is central to most people’s impressions of the Vikings.
It should be stated, of course, that raiding was common by all cultures across Europe during te Viking Age. In that respect, “Viking” warfare was no different from a great deal of other, contemporary warfare. Nevertheless, archaeology has shown that the warrior ideal was of particular importance to the Vikings: swords, for instance, are highly significant items in a lot of Viking Age graves, and contribute massively to the image of the traditional warrior Viking.
But, of course, making war indicates more than violence: most Vikings were probably not just out to cause mayhem and murder for the fun of it. It also signifies the power-political aspects of warfare, and understanding the agendas of war are important for diversifying our view of the so-called warrior Viking.
Ever since Scandinavia’s distant prehistory, warfare had been an integral part of power, and in one sense the Viking Age can be seen as merely a logical evolution of this. During this age, all free men had the right to carry weapons and use them. To do so was probably a necessity: having dangerous neighbours made defense of the house a pressing issue. Men from higher social spheres were expected to participate in the military, and all men could be called up under a system known as “leiðangr”, in which a local ruler could conscript free men for seasonal warfare. Thus, warfare was a way to wield power and push back against others’.
But it also had a practical element: plunder was a vital source of income. Plunder brought both wealth and prestige, and as a result strengthened one’s position in society—particularly by sharing one’s newfound wealth to gain friends and influence. Unpleasantly, one of the primary goals of raiding was to obtain slaves, an act which cannot have been undertaken without violence. Warfare thus factored into the politics, economics, and power dynamics of the Viking Age.
Perhaps some men chose to become Vikings because they were, themselves, inclined to cruelty and violence for its own sake—the bloodthirsty pillagers of scary stories. But most were probably rather complex and dynamic individuals, capable of pursuing a multitude of different agendas and adapting to different situations, many of which precipitated violence. We may find this distasteful but this was a different world from our own, in which being a warrior may be understood as only one aspect of a person’s fluid and ever-changing identity.
Text: Martine Kaspersen. Copyright 2023 Scandinavian Archaeology.
Image: "The Landing of the Vikings" by Arthur C. Michael (1917; from "This Country of Ours, The Story of the United States" by H.E. Marshall). Note how the image typifies the National Romantic image of the Vikings.

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