FABULOUS ANIMALS – from the Iron Age to the

Guide to the exhibition Cases EXIT 16 17 1. The scabbard’s hidden protectors 11 2. The sword scabbard’s golden beasts

15 3. The Åker chieftain’s protectors 4. The hidden animals of the chieftain’s sword 5. The hidden beasts – Iron Age graffiti 10 6. Freya`s jewellery? 14 7. Bearing knowledge 9 8. The woman from Dalem 9. Journey by fire 13 10. In the same pot 11. The Urnes animal – the pagan beast who became Christian

12 12. Gripping beasts. Fabulous animals from the 13. The snake 4 8 14. Friends of the gods – the horse and the cat 7 15. Bird’s eye view 16. The bear: King of the animals, animal of the kings

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5 ENTRANCE

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2 3 1. The scabbard’s hidden protectors Do you see the “birdman”? This beautiful gold mount sat at the top of a scabbard that held a chieftain’s sword. Hidden in the complex designs are two fabulous birds turned toward each other. Both have pronounced eyes and beaks, and their droplet-shaped bodies are filled with small beads of gold. But if we shift our glance, we see that the birds also form a man’s face with eyes, nose and a moustache.

This “birdman” shows how animals and humans were intermixed to create new figures. Hybrid figures like these made the patterns more powerful, so that the scabbard could better protect the sword it held.

In the case 1. Scabbard mount of gold. Date: early 500’s Egge søndre, Vestre Slidre, (). C992

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4 5 2. The sword scabbard’s golden beasts Wide bands of gull adorn the warrior’s sword scabbard. The warriors wore his sword suspended from a belt fastened at the waist or across the chest. The decorative mounts on the scabbard would have gleamed like gold, a clear sign of his wealth and status. All the mounts are decorated with animal art. Some animals are easy to identify, we can see the beaks and claws of birds. Others are more abstract and difficult to understand.

The Migration Period (c 400-550 AD) is the “golden age” of Norwegian 1. prehistory. More gold has been found in this period than in any other. Many of the gold objects are decorated with animal art. The shining, costly gold increased the animal figures’ power. The golden animals made both the scabbard and the warrior stronger.

In the case Scabbard mounts of gold from: 1. Aamdal, Farsund, (Vest-Agder). C25077 5. 2. Lerhus, Eidsvold, (). C11423 3. Lerhus, Eidsvold, Viken (Akershus). C11424 4. Onsrud østre, , Viken (Akershus). C28057 5. Sletner, Indre Østfold, Viken (Østfold). C2468

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6 7 3. The Åker chieftain’s protectors These objects come from the grave of a powerful chieftain who died some- time in the late 500s. We see the remains of the war gear he took with him to the grave; a sword and a sword belt with an ornate buckle, and several small 3. decorative belt mounts. His shield is also decorated with figures of silver

6. and gold.

The decorations are full of powerful animals; fierce beasts, birds of prey and

3. a “wild boar-warrior”. Did the mighty animals give the Åker chieftain strength 3. when he went into battle? Did they frighten his enemies? 3. 2. The Åker chieftain’s gear was exclusive and expensive. It gleamed of silver and gold, with details enhanced with red garnets and black silver.

3. The beautiful pieces resemble similar finds from other chieftain’s graves in , England and the Continent. This indicates that the Åker chieftain must have been part of a large and powerful network.

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3. In the case Finds from Åker, Hamar, Innlandet () 1. The large buckle is a fabulous work of craftsmanship. In the centre, we see a man with a large 1. moustache, his hair parted down the middle. His legs are bent outwards, and turn into two wild boar heads with tusks sticking up from their lower jaws. On both sides of the man’s head and at the top of the buckle, we see birds of prey with large curled beaks. C4901 2. Bird’s heads with hooked beads were mounted on the back of the shield, and could not be 2. seen. Perhaps their job was to protect the warrior and give him strength? C4903, C8347, C14786, C38000/1, 2a og b 3. Birds, snakes and other animals decorated the warrior’s belts and straps. C4902, C5651-2, 5. C5897, C10379, C14785, C16605, C21406, C38000/4-9

2. 2. 2. 4. On the top of the chieftain’s sword was a pommel with a ring. C16604 5. The scabbard was reinforced with decorated mounts C38000/10 and a ‘sword bead’. C38000/12 6. Birds of prey with red eyes and cool hairdoos show their teeth. From a mount. C21406 3. 3. 3.

8 9 4. The hidden animals of the chieftain’s sword

2. These ornate swords and belt buckle come from the graves of two warriors found at the Snartemo farm in southern . They are the most richly equipped warrior graves we have from the Migration Period in Norway and must have belonged to powerful chieftains buried in the first half of the 500s. The objects buried with them in the graves show that the warrior kings of Snartemo had long-distance contacts with continental Europe. They also have fabulous animals hidden in their swords. The Snartemo swords are in a class of their own, both in quality and in design. They tell of the importance of animals and animal art to the warriors elites of the Iron Age.

In the case Grave finds from Snartemo, Hægebostad, Agder (Vest-Agder) 1. Sword. The grip is covered with thin plates of gilt silver decorated with human- and animal figures. There are also animals hidden in the patterns on the crossguard, pommel and on the top part of the scabbard. C26001a 2. The belt buckle itself is shaped like an animal, with a head and a snout sticking out in front. There are also smaller animal figures hidden along the sides of the animal’s body. C26001b 3. This sword is poorly preserved, but still we can see the heads of animals peeking out from each side of the pommel, and from the underside of the grip. C28026a 1. 3.

10 11 5. The hidden beasts – Iron Age graffiti On the back of some brooches we find animal figures etched into the metal plate. Sometime in the 400s someone etched a horse and a wolf on the back of this brooch. These “back-side beasts” are not part of the original design, but were probably made later by someone else.

The back-side animals are simpler and more naturalistic than those on the front. They turn towards the person wearing the brooch. Why place animals in places no one could see them? Perhaps people believed that close physical contact helped transfer the animal´s power to the person wearing the brooches.

In the case 1. Nordheim, Larvik, and (Vestfold). C19858

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12 13 6. Freya`s jewellery? The goddess Freya had a piece of jewellery called Brísingamen, which means “the glowing neckpiece”. These brooches from the Migration Period (c AD 400–550) and the Merovingian Period (c AD 550–800) were worn at the neck. The gold would appear to glimmer like flames and the red garnets would glow like embers. The myths tell us that Freya could take on the shape of a bird, and bird´s heads can be clearly seen on many of these brooches. 4. Are they meant to represent Brisingamen? Were the women who owned 1. 5. them priestesses of Freya?

In Norwegian, the lady of the house is called a husfrue, from “house Freya”. The ladies of the wealthiest Iron Age farms bore Freya´s name in their title.

In the case Brooches of gilt silver or copper alloy and garnets. 6. 1. Relief brooch. Søtvet, Skien, Telemark and Vestfold. (Telemark). C9441 2. Relief brooch. Falkum, Skien, Telemark and Vestfold (Telemark). C21856 3. 3. Relief brooch. Offersøy, Øyen, Lødingen, . C8361 7. 4. Relief brooch. Fonnås, Rendalen, Innlandet (Hedmark). C8154 5. Disc-on-bow brooch. Alfstad, Øystre Slidre, Innlandet (Oppland). C15041 2. 6. Disc-on-bow brooch. Holen, Øyer, Innlandet (Oppland). C716 7. Disc-on-bow brooch. Haukenes, Hadsel, Nordland. Loan: Norges arktiske universitetsmuseum. Ts6362 8. Disc-on-bow brooch. Bittestad, Hadsel, Nordland. 8. Loan: Norges arktiske universitetsmuseum. Ts12308/2 (Ts13785/250)

14 15 7. Bearing knowledge These large brooches from the Migration Period (c AD 400-550) are called relief brooches. They are richly decorated and we can make out both human faces and parts of animals in the ornate designs. Some of the figures seem to be human and animal at the same time. It is not easy to understand what 2. the figures mean. This was probably also the case in the Migration Period. The women who owned the brooches were among the chosen few who had special knowledge about the hidden animals.

In the case 7. Brooches of gilt silver or copper alloy. 1. This brooch of gilt silver is one of the earliest types. Spirals and other geometric patterns on 6. the square plate are borrowed from Roman fashion. However, the “body” of the brooch takes 8. on animal form, with outstretched arms and a head at the lower end. Eidstein, Larvik, Telemark 3. and Vestfold (Vestfold). C19235 9. 2. Relief brooch. Tveitane, Larvik, Telemark and Vestfold (Vestfold). C11221c 3. Relief brooch. Bratsberg, Skien, Telemark and Vestfold (Telemark. C26566 4. Relief brooch. Sande, Farsund, Agder (Vest-Agder). C55731/1 5. Relief brooch. Skrautvål (parish), Nord-Aurdal, Innlandet (Oppland). C12280 6. Relief brooch. Ommundrud, Larvik, Telemark and Vestfold (Vestfold). C29300 a 7. Relief brooch. Ommundrud, Larvik, Telemark and Vestfold (Vestfold). C29300 b 8. Relief brooch. Hægebostad, Lindesnes, Agder (Vest-Agder). C13697 9. Relief brooch. Isesjøen, , Viken (Østfold). C15668 1.

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16 17 8. The woman from Dalem Around the middle of the 500s AD, a woman was buried on the Dalem farm in Trøndelag. She was placed in her grave wearing many pieces of her jewellery. A relief brooch – one of the largest of its kind in Scandinavia, was used to fasten a cape. The sleeves of her blouse were fastened with golden clasps. Three gold medallions, called bracteates, hung on her chest. The jewellery are all covered with animal and human figures. Was it for protection or power or both?

The relief brooch was so large that it would have been impractical for da- 4. ily wear. It was probably only worn on special occasions, for celebrations, processions and ceremonies. The Dalem woman must have played a very important role in her community.

In the case Grave find from Dalem, Steinkjer, Trøndelag (Nord-Trøndelag) 1. The large relief brooch of silver and gold is 25 cm long, and over 15 cm from “arm to arm”. C4816 2. A small relief brooch. C4817 3. A gusset plate reinforced the cuffs of her blouse. It was made in the same style as the large brooch, and is covered with small animal faces in profile. C4822 4. Golden medallions, bracteates, gleamed at her breast. They show a mounted rider; maybe the god Odin and his horse, Sleipnir. C4565-67.

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18 19 9. Journey by fire The way people were buried tell a lot about how they thought about life, death and the Afterlife. In the Iron Age and Viking times, the dead were either buried or cremated, but cremation was most common. Burning the body on a funeral pyre may have been a way of releasing the dead person’s spirit from the body, thus helping them on their way to the Afterlife. The burnt remains of both human and animal bones were buried in this soapstone bowl; their souls had travelled onward together to the Afterlife.

In the case 1. Burned bones. Drognes, Årnes, Viken (Akershus). C60102/29

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20 21 10. In the same pot From a Viking Age burial. Burned human, cattle, pig, dog, horse and squirrel bones were found mixed together in this soapstone bowl. Both animals and humans were cremated on the funeral pyre. Perhaps it was thought they would all come to life again in the Afterlife?

Soapstone, which is plentiful in Norway, was used for making bowls and cooking vessels in Viking and Medieval times. Soapstone bowls were sometimes reused as burial urns, as in this grave from the 800s.

In the case Soapstone bowl from Bringsjord, Lyngdal, Agder (Vest-Agder). C32010 6. Burned bones from Drognes, Årnes, Viken (Akershus). C60102/22-29 1. Human (Homo sapiens) 2. Cattle (Bos taurus) 2. 3. Dog (Canis familiaris) 4. Horse (Equus caballus) 5. Pig (Sus domestica) 5. 6. Squirrel (Sciurus vulgaris) 7. Big hoofed animal (Megaungulat) 4. 8. Small hoofed animal (Mesoungulat) 8. 3. 7. 1.

22 23 11. The Urnes animal – the pagan beast who became Christian Brooches decorated in the Urnes style (c 1050 – 1150), were the height of Scandinavian fashion at the beginning of the Middle Ages. The Urnes style is still full of fabulous animals. The brooches feature a large elegant animal, 2. probably a lion, surrounded by serpent-like creatures. Is the Urnes beast a symbol of Christ, or the Christian soul’s battle against evil? Or does the animal still give strength and protection to those who wear the brooch as it did in the 1. pre-Christian past?

In the case Urnes brooches of (gilt) copper alloy. 1. Jong, Bærum, Viken (Akershus). C14077 2. Bø-Nordigård, Lesja, Innlandet (Oppland). C27822 4. 3. Langangen, Porsgrunn, Telemark and Vestfold (Telemark). C28696 4. By, Hole, Viken (). C26519

6. Urnes brooches of copper alloy. 5. Balke, Moss, Viken (Østfold). A2017/945 6. Haug, Ullensaker, Viken (Akershus): C59331 7. Prestegården, Sør-Fron, Innlandet (Oppland). C62610 8. Seierstad, Larvik, (Vestfold). C37710 9. Gamlebyen, . C37175/G75488 3. ”Dragon brooch”, gold and copper alloy. The animal on some of the later Urnes brooches developed wings and became more like a dragon. 9. !0. Prestegården, Sør-Fron, Innlandet (Oppland). C58123

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24 25 12. Gripping beasts. Fabulous animals from the Viking Age Is it a fox, or maybe a cat? In Viking Age art, we meet a little creature who likes to hold on tight – to itself and others. We call them Griping beasts, and like acrobats, they can turn and twist around themselves, while looking at you with their big round eyes.

This is a copy of one of the animal head posts from the Oseberg burial (AD 834). The original head posts can be seen at the Viking Ship Museum on Bygdøy. The head and neck are teaming with animal bodies. At first glance, it is hard to tell them apart, but if you take a closer look, you will see faces with big eyes, noses, pony tails (or horns?), arm and legs. The skilled carver must have planned the design in great detail beforehand.

Five animal head posts were found in the Oseberg ship burial. We do not know how they were used, but each had a handle. Perhaps they were carried at processions, or used on other special occasions.

In the case 1. Copy of animal head post, made by the woodcarver Sverre G. Sundby. C55000/173, O:1904 no.175

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26 27 13. The snake The snake or serpent was a popular figure in Animal art. Slithering serpent- like animals are found everywhere; on weapons and jewellery, in textiles designs and in carvings decorating ships, furniture and houses.

The snake can slither underground, swim, climb, and slide through cracks and small openings. It sheds its skin twice a year, making it the ultimate shape- shifter. It also swallows other animals whole, thus becoming two animals in one – a hybrid.

5. In Norse mythology, the snake has close ties to Odin. Odin is a great shaman and shape-shifter who could change himself into animals or humans. The most famous serpent was the Midgard Serpent, who encircled the earth 2. 3. and held it together by biting its tale.

In the case 7. 6. Gold «serpent rings» like this were Iron Age finger-bling. We find them in the graves of rich and powerful people from the 200-300s. The ring may have signaled that those who wore 4. 1. them belonged to a small exclusive group. 1. Efteløt prestegård, , Viken (Buskerud). C779 2. Kjorstad Søndre, Sør-Fron, Innlandet (Oppland). C4163 3. Braaten, , Viken (Buskerud). C2878 4. Bringsværd, Grimstad, Agder (Aust-Agder). C7331a

Serpent-birds or bird-serpents? This decorative mount is teaming with fabulous ribbon-shaped animals. Copper alloy. Date: 700s 5. Blakstad, Bærum, Viken (Akershus). C29928

S for snake. Small, elegant snake brooches were in fashion in the 600s. S-shaped brooch of copper alloy. 6. Englaug østre, Løten, Innlandet (Hedmark). C10695 8. 7. Nordgården, Seljord, Telemark and Vestfold (Telemark). C17428

This large round silver brooch from the Viking Age hides at least three intertwined ribbon-shaped animals. 8. , Tråen, Viken (Buskerud). C28158a

28 29 14. Friends of the gods – the horse and the cat The horse was a helper to both the gods and humans. The horse Sleipnir carried Odin from Asgard to the Underworld, and both women and men took horses with them to the grave to escort them on their journey from this world to the next.

Cats were Freya’s pet animal. Two cats pulled her wagon and protected her home. Horses and cats are among the fabulous beasts found pictured on weapons and jewellery, wooden objects and tapestries. 8. 12.

In the case The Romans made gold medallions that pictured an emperor on horseback. People of the 4. north made their own versions of these, called bracteates. On these, the emperor was replaced by the god Odin on his horse, Sleipnir. Gold brakteates from AD 400 – 550. 1. Sletner, , Viken (Østfold). C2475 2. Tøien Øvre, Aurskog-Høland, Viken (Akershus). C1727a 2. 3. Gyland, Flekkefjord, Agder (Vest-Agder). C7539, C7563 4. Nærbø, . C715 11. 5. Linnestad, Telemark and Vestfold (Vestfold). C30166b 6. Eidsberg, Lille-Skjør, Innlandet (Østfold). C4068 1. 10. 7. Sjøtvedt Nordre, Telemark and Vestfold (Telemark). C9440a 8. Unknown. C686

6. A fabulous horse becomes an elegant dress pin. From a grave from the Viking town, Kaupang. 9. 9. Kaupang, Larvik, Telemark and Vestfold (Vestfold). Date: 800s. C27220

Freya’s cats? We find cat faces hidden in women’s jewellery, such as on this round brooch. 10. Bjølstad, Vågå, Innlandet (Oppland). Date: 800s. C23005

Two silver horses once strengthened the end tip of a sword scabbard. 11. Veien, Ringerike, Viken (Buskerud). Date: 400s. C 337

3. Two cats with attitude look down from a bridle for a very small horse. 3. 7. 5. 12. Tingelstad, , Innlandet (Oppland). Date: 800s. C6220

30 31 15. Bird’s eye view Birds score high on the list of fabulous beasts, especially birds of prey and carrion eaters like eagles and ravens. These birds are ferocious and dangerous, they can fly over great distances and see and hear everything.

The eagle is the most majestic of all the birds of prey, and eagle- like birds with large claws and sharp beaks appear everywhere in Iron Age Animal art. 3. In many cultures, the eagle is associated with shamanism and soul-journeys. The god Odin was a shaman and was known to fly in the guise of an eagle. Odin is also the raven god. Like Odin, ravens are birds of war and knowledge. They are the birds of the battlefield and flock around the corpses of fallen warriors. 9. Every morning Odin’s two ravens Hugin (Thought) and Munin (Memory), fly to other worlds and return in the evening to Odin with news and knowledge about the past and future. 5. 8. In the case With a bird on your shoulder? 10. Bird-shaped dress pins like these were the fashion in the 600s. 1. Holter mellom, Nes, Viken (Akershus). C56532/4 6. 7. 2. Aker, Innlandet (Hedmark). C53469/1 3. Listad, Sør-Fron, Innlandet (Oppland). C59329 4. Nordrum, Larvik, Telemark and Vestfold (Vestfold). C23175 5. Storhov, Elverum, Innlandet (Hedmark). C61380 6. Gaalaas (Gålås?), Ringsaker, Innlandet (Hedmark). C61471 11. 4. 7. Foss nordre, Sørum, Viken (Akershus). C61472 8. Huseby, Råde, Viken (Østfold). C61473 9. Bygdøy kongsgård, Oslo. C56186 12. 2. 10. Jessnes nedre, Ringsaker, Viken (Hedmark). C60609 1. 11. Asla, Ringsaker, Innlandet. A2017/732 12. Elgestad østre, Ferder, Vestfold and Telemark (Vestfold). A2017/1078

32 33 16 and 17. The bear: King of the animals, animal of the kings The bear is big, strong and dangerous. It is also the wild animal that most closely resembles humans. It can stand on two legs, swinging its arms as it walks, and has a round head, just like us. The bear was animal of kings and chieftains – a lonely and majestic figure with enormous strength. When a bear is angry, it can ravage everything and everyone around it. The bear was the fylgia, the companion animal, of the greatest heroes. The berserks or bear warriors, were Odin’s own warriors.

The remains of real bears are sometimes found in graves from the Early Iron Age. Finds of fur and claws indicate that the dead person may have been wrapped in a bearskin.

In the case A human warrior in bear’s clothing? The tapestry from the Oseberg ship burial gives is a glimpse of a world where humans and animals could change places. 1. Fragment of tapestry from Oseberg, Tønsberg, Vestfold and Telemark (Vestfold). C55000/377. 13B2.

A bear curled up like a circus acrobat? 1. This very special little bear was carved from a piece amber by a skilled and clever craftsman. It may have been used as a pendant; a “good-luck” bear that brought its owner strength, as well as delight. This bear was probably made in in the 800s. Amber is fossilized tree resin that has washed up from the sea, especially along the coasts of Denmark and the Baltic. Amber was prized for its color and beauty, but also for its magical powers. If you rub it, amber becomes electrically charged. Small, light objects are drawn to it “just like magic”. 3. 2. A bear of amber. Øvre Haugsten, Råde, Viken (Østfold). C4033

Traces of actual bears are found in graves from Early Iron Age. 2. Fur and claws tells us that the deceased had been laid to rest in a bear skin. If the deceased were cremated, we can find bear claws among the burnt bones from the cremation fire. 3. Bjørneklør fra Hunn, Borge, Viken (Østfold). C28986 c- g

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