1.
Odin
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In Germanic mythology, Odin is a widely revered god. In the modern period, Odin continued to be acknowledged in the folklore of Germanic Europe. Forms of his name appear frequently throughout the Germanic record, though narratives regarding Odin are mainly found in Old Norse works recorded in Iceland and these texts make up the bulk of modern understanding of Norse mythology. In Old Norse texts, Odin is depicted as one-eyed and long-bearded, frequently wielding a spear named Gungnir, and wearing a cloak, Odin is attested as having many sons, most famously the god Baldr with Frigg, and is known by hundreds of names. Odin has an association with Yule, and mankinds knowledge of both the runes and poetry is also attributed to him. In Old Norse texts, Odin is given primacy over female beings associated with the battlefield—the valkyries—and oversees Valhalla, where he receives half of those who die in battle, the other half are chosen by the goddess Freyja for her afterlife location, Fólkvangr. In later folklore, Odin appears as a leader of the Wild Hunt and he has also been associated with charms and other forms of magic, particularly in Old English and Old Norse texts. Odin has been a frequent subject of study in Germanic studies, in the modern period, Odin has inspired numerous works of poetry, music, and other forms of media. He is venerated in most forms of the new religious movement Heathenry, together with other gods venerated by the ancient Germanic peoples, some branches focus particularly on him. The Old Norse theonym Óðinn and its cognates, including Old English Wōden, Old Saxon Wōden, the masculine noun *wōđanaz developed from the Proto-Germanic adjective *wōđaz, related to Latin vātēs and Old Irish fáith, both meaning seer, prophet. Adjectives stemming from *wōđaz include Gothic woþs possessed, Old Norse óðr, mad, frantic, furious, additionally the Old Norse noun æði rage, fury and Old High German wuotī madness derive from the feminine noun *wōđīn, from *wōđaz. Over 170 names are recorded for the god Odin and these names are variously descriptive of attributes of the god, refer to myths involving him, or refer to religious practices associated with the god. This multitude of names makes Odin the god with the most names known among the Germanic peoples, the weekday name Wednesday derives from Old English wōdnesdæg. Cognate terms are found in other Germanic languages, such as Middle Low German wōdensdach, all of these terms derive from Proto-Germanic *Wodensdag, itself a Germanic interpretation of Latin Dies Mercurii. However, in Old High German, the derived from Odins was replaced by a translation of Church Latin media hebdomas. The earliest records of the Germanic peoples were recorded by the Romans and they regard it as a religious duty to offer to him, on fixed days, human as well as other sacrificial victims. Hercules and Mars they appease by animal offerings of the permitted kind, in this instance, Tacitus refers to the god Odin as Mercury, Thor as Hercules, and Týr as Mars, and the identity of the Isis of the Suebi has been debated. But their rankings in their respective religious spheres may have very different
2.
W. G. Collingwood
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William Gershom Collingwood was an English author, artist, antiquary and professor of Fine Arts at University College, Reading. His father, also William, was a watercolour artist, and had married Marie Eliabeth Imhoff of Arbon, soon young William was sketching with his father in the Lakes, North Wales, and Switzerland. In 1872, he went to University College, Oxford, where he met John Ruskin, during the summer of 1873 Collingwood visited Ruskin at Brantwood, Coniston. Two years later Collingwood was working at Brantwood with Ruskin and his associates, Ruskin admired his draughtsmanship, and so Collingwood studied at the Slade School of Art between 1876 and 1878. He exhibited at the Royal Academy in 1880, for many years Collingwood dedicated himself to helping Ruskin, staying at Brantwood as Ruskins assistant and travelling with him to Switzerland. In 1883 he married Edith Mary Isaac and settled near to Ruskin in the Lake District, Collingwood edited a number of Ruskins texts and published a biography of Ruskin in 1893. In 1896, Arthur Ransome met the Collingwoods and their children, Dora, Barbara, Ursula, Ransome learned to sail in Collingwoods boat, Swallow, and became a firm friend of the family, even proposing marriage to both Dora and Barbara. After a summer of teaching Collingwoods grandchildren to sail in Swallow II in 1928, Ransome wrote the first book in his Swallows and he used the names of some of Collingwoods grandchildren for his characters, the Swallows. By the 1890s Collingwood had become a painter and also joined the Cumberland and Westmorland Antiquarian. He wrote a number of papers for its Transactions, becoming editor in 1900. Collingwood was particularly interested in Norse lore and the Norsemen, and he wrote a novel, in 1897, Collingwood travelled to Iceland where he spent three months over the summer exploring with Jón Stefánsson the sites around the country in which the medieval Icelandic sagas are set. Collingwood was a member of the Viking Club and served as its president, in 1902 he co-authored again with Jón Stefánsson the first translation it published, a translation of Kormáks saga entitled, The Life and Death of Kormac the Skald. His study of Norse and Anglican archaeology made him recognized as a leading authority. Collingwood joined the Admiralty intelligence division at the outbreak of the First World War, in 1919, he returned to Coniston and continued his writing with a history of the Lake District and perhaps his most important work, Northumbrian Crosses of the pre-Norman Age. He was a climber and swimmer, and a tireless walker into advanced age. In 1927 he experienced the first of a series of strokes and his wife died in 1928, followed by Collingwood himself in 1932. Following the Armistice of 1918, and the treaty of 1919. His knowledge of and enthusiasm for Scandinavian crosses is displayed at Grasmere where the memorial on Broadgate Meadows is a pastiche of an Anglian cross, the short verse at its base was penned by his close friend Canon Hardwicke Rawnsley who was chair of the memorial committee
3.
Norse mythology
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The cosmos in Norse mythology consists of Nine Worlds that flank a central cosmological tree, Yggdrasil. Units of time and elements of the cosmology are personified as deities or beings, various forms of a creation myth are recounted, where the world is created from the flesh of the primordial being Ymir, and the first two humans are Ask and Embla. These worlds are foretold to be reborn after the events of Ragnarök, there the surviving gods will meet, and the land will be fertile and green, and two humans will repopulate the world. Norse mythology has been the subject of scholarly discourse since the 17th century, by way of comparative mythology and historical linguistics, scholars have identified elements of Germanic mythology reaching as far back as Proto-Indo-European mythology. In the modern period, the Romanticist Viking revival re-awoke an interest in the subject matter, the myths have further been revived in a religious context among adherents of Germanic Neopaganism. The majority of these Old Norse texts were created in Iceland and this occurred primarily in the 13th century. The Prose Edda was composed as a manual for producing skaldic poetry—traditional Old Norse poetry composed by skalds. Originally composed and transmitted orally, skaldic poetry utilizes alliterative verse, kennings, the Prose Edda presents numerous examples of works by various skalds from before and after the Christianization process and also frequently refers back to the poems found in the Poetic Edda. The Poetic Edda consists almost entirely of poems, with some prose narrative added, in comparison to skaldic poetry, Eddic poetry is relatively unadorned. Numerous further texts, such as the sagas, provide further information, the saga corpus consists of thousands of tales recorded in Old Norse ranging from Icelandic family histories to Migration period tales mentioning historic figures such as Attila the Hun. By way of historical linguistics and comparative mythology, comparisons to other attested branches of Germanic mythology may also lend insight, wider comparisons to the mythology of other Indo-European peoples by scholars has resulted in the potential reconstruction of far earlier myths. Of the mythical tales and poems that are presumed to have existed during the Middle Ages, Viking Age, Migration Period, numerous gods are mentioned in the source texts. In the mythology, Thor lays waste to numerous jötnar who are foes to the gods or humanity, the god Odin is also frequently mentioned in surviving texts. One-eyed, wolf and raven-flanked, and spear in hand, Odin pursues knowledge throughout the worlds, Odin has a strong association with death, Odin is portrayed as the ruler of Valhalla, where valkyries carry half of those slain in battle. Odins wife is the powerful goddess Frigg who can see the future but tells no one, and together they have a beloved son, Baldr. After a series of dreams had by Baldr of his death, his death is engineered by Loki, and Baldr thereafter resides in Hel. Odin must share half of his share of the dead with a powerful goddess and she is beautiful, sensual, wears a feathered cloak, and practices seiðr. She rides to battle to choose among the slain, and brings her chosen to her afterlife field Fólkvangr, Freyja weeps for her missing husband Óðr, and seeks after him in far away lands
4.
Horse
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The horse is one of two extant subspecies of Equus ferus. It is an ungulate mammal belonging to the taxonomic family Equidae. The horse has evolved over the past 45 to 55 million years from a small multi-toed creature, Eohippus, into the large, humans began to domesticate horses around 4000 BC, and their domestication is believed to have been widespread by 3000 BC. Horses in the subspecies caballus are domesticated, although some domesticated populations live in the wild as feral horses. There is an extensive, specialized vocabulary used to describe equine-related concepts, covering everything from anatomy to life stages, size, colors, markings, breeds, locomotion, and behavior. Horses anatomy enables them to use of speed to escape predators and they have a well-developed sense of balance. Related to this need to flee from predators in the wild is an unusual trait, female horses, called mares, carry their young for approximately 11 months, and a young horse, called a foal, can stand and run shortly following birth. Most domesticated horses begin training under saddle or in harness between the ages of two and four and they reach full adult development by age five, and have an average lifespan of between 25 and 30 years. There are more than 300 breeds of horse in the world today, horses were historically used in warfare, from which a wide variety of riding and driving techniques developed, using many different styles of equipment and methods of control. Many products are derived from horses, including meat, milk, hide, hair, bone, humans provide domesticated horses with food, water and shelter, as well as attention from specialists such as veterinarians and farriers. Specific terms and specialized language are used to describe equine anatomy, different life stages, colors, depending on breed, management and environment, the modern domestic horse has a life expectancy of 25 to 30 years. Uncommonly, a few animals live into their 40s and, occasionally, the oldest verifiable record was Old Billy, a 19th-century horse that lived to the age of 62. In modern times, Sugar Puff, who had listed in Guinness World Records as the worlds oldest living pony. The exception is in endurance riding, where the age to compete is based on the animals actual calendar age. The following terminology is used to describe horses of various ages, Colt, a common terminology error is to call any young horse a colt, when the term actually only refers to young male horses. Filly, A female horse under the age of four, foal, A horse of either sex less than one year old. A nursing foal is sometimes called a suckling and a foal that has been weaned is called a weanling, most domesticated foals are weaned at five to seven months of age, although foals can be weaned at four months with no adverse physical effects. Gelding, A castrated male horse of any age, mare, A female horse four years old and older
5.
Loki
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In Norse mythology, Loki, Loptr, or Hveðrungr is a god or jötunn. Loki is the son of Fárbauti and Laufey, and the brother of Helblindi, by the jötunn Angrboða, Loki is the father of Hel, the wolf Fenrir, and the world serpent Jörmungandr. By his wife Sigyn, Loki is the father of Narfi and/or Nari, by the stallion Svaðilfari, Loki is the mother—giving birth in the form of a mare—to the eight-legged horse Sleipnir. In addition, Loki is referred to as the father of Váli in Prose Edda, though this also refers to Odin as the father of Váli twice. Lokis relation with the gods varies by source, Loki sometimes assists the gods, Loki is a shape shifter and in separate incidents he appears in the form of a salmon, a mare, a fly, and possibly an elderly woman named Þökk. Lokis positive relations with the end with his role in engineering the death of the god Baldr. In both the Poetic Edda and the Prose Edda, the goddess Skaði is responsible for placing a serpent above him while he is bound, Loki may be depicted on the Snaptun Stone, the Kirkby Stephen Stone, and the Gosforth Cross. Lokis origins and role in Norse mythology, which scholars have described as that of a trickster god, have been much debated by scholars. Loki has been depicted in or is referenced in a variety of media in popular culture. The etymology of the name Loki has yet to be solved and it may be related to Old Norse luka, meaning close, shut. The name Hveðrungr is also used in reference to Loki, occurring in names for Hel, in the Poetic Edda, Loki appears in the poems Völuspá, Lokasenna, Þrymskviða, Reginsmál, Baldrs draumar, and Hyndluljóð. In stanza 35 of the Poetic Edda poem Völuspá, a völva tells Odin that, among other things, she sees Sigyn sitting very unhappily with her bound husband, Loki. In stanza 54, after consuming Odin and being killed by Odins son Víðarr, the poem Lokasenna centers around Loki flyting with other gods, Loki puts forth two stanzas of insults while the receiving figure responds with a single stanza, and then another figure chimes in. The poem begins with an introduction detailing that Ægir, a figure associated with the sea, is hosting a feast in his hall for a number of the gods. There, the gods praise Ægirs servers Fimafeng and Eldir, Loki could not bear to hear that, and kills the servant Fimafeng. In response, the gods grab their shields, shrieking at Loki, the gods then return to the hall, and continue drinking. Entrance and rejection Loki comes out of the woods, and meets Eldir outside of the hall, Loki greets Eldir with a demand that Eldir tell him what the gods are discussing over their ale inside the hall. Eldir responds that they discuss their weapons and their prowess in war, Loki says that he will go into the feast, and that, before the end of the feast, he will induce quarrelling among the gods, and mix their mead with malice
6.
Gotland
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Gotland, Gutland in the local dialect Gutnish, is a province, county, municipality, and diocese of Sweden. The province includes the islands of Fårö and Gotska Sandön to the north. The population is 57,221, of which about 23,600 live in Visby, the island of Gotland and the other areas of the province of Gotland make up less than one percent of Swedens total land area. From a military viewpoint, it occupies a location in the Baltic sea. The island is the home of the Gutes, and sites such as the Ajvide Settlement show that it has occupied since prehistory. This is consistent with the spread of peoples from the Middle East at about that time. Early on, Gotland became a center, with the town of Visby the most important Hanseatic city in the Baltic Sea. In late medieval times, the island had twenty district courts, each represented by its elected judge at the island-ting, new laws were decided at the landsting, which also took other decisions regarding the island as a whole. Gutasaga contains legends of how the island was settled by Þieluar, according to some historians, it is therefore an effort not only to write down the history of Gotland, but also to assert Gotlands independence from Sweden. In 1361, Valdemar Atterdag of Denmark invaded the island, the Victual Brothers occupied the island in 1394 to set up a stronghold as a headquarters of their own in Visby. At last, Gotland became a fief of the Teutonic Knights, an invading army of Teutonic Knights conquered the island in 1398, destroying Visby and driving the Victual Brothers from Gotland. The number of Arab dirhams discovered on the island of Gotland alone is astoundingly high, in the various hoards located around the island, there are more of these silver coins than at any other site in Western Eurasia. The total sum is almost as great as the number that has been unearthed in the entire Muslim world, the Berezan Runestone, discovered in 1905 in Ukraine, was made by a Varangian trader named Grani in memory of his business partner Karl. It is assumed that they were from Gotland, the Mästermyr chest, an important artefact from the Viking Age, was found in Gotland. The authority of the landsting was successively eroded after the island was occupied by the Teutonic Order, then sold to Eric of Pomerania, in late medieval times, the ting consisted of twelve representatives for the farmers, free-holders or tenants. Since the Treaty of Brömsebro in 1645, the island has remained under Swedish rule, the Order never regained its territory, and eventually it reestablished itself in Rome as the Sovereign Military Order of Malta. On 22 April 1808, during the Finnish War between Sweden and Russia, a Russian army landed on the shores of Gotland near Grötlingbo. Under command of Nikolaus Andrejevich Bodisco 1,800 Russians took the city of Visby without any combat or engagement, and occupied the island
7.
Shamanism
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The word shaman probably originates from the Tungusic Evenki language of North Asia. The term was introduced to the west after Russian forces conquered the shamanistic Khanate of Kazan in 1552, Mircea Eliade writes, A first definition of this complex phenomenon, and perhaps the least hazardous, will be, shamanism = technique of religious ecstasy. Shamanism encompasses the premise that shamans are intermediaries or messengers between the world and the spirit worlds. Shamans are said to treat ailments/illness by mending the soul, alleviating traumas affecting the soul/spirit restores the physical body of the individual to balance and wholeness. The shaman also enters supernatural realms or dimensions to obtain solutions to problems afflicting the community, Shamans may visit other worlds/dimensions to bring guidance to misguided souls and to ameliorate illnesses of the human soul caused by foreign elements. The shaman operates primarily within the world, which in turn affects the human world. The restoration of balance results in the elimination of the ailment, hundreds of books and academic papers on the subject have been produced, with a peer-reviewed academic journal being devoted to the study of shamanism. The word shaman probably originates from the Evenki word šamán, most likely from the dialect spoken by the Sym Evenki peoples. The Tungusic term was adopted by Russians interacting with the indigenous peoples in Siberia. It is found in the memoirs of the exiled Russian churchman Avvakum, adam Brand, a merchant from Lübeck, published in 1698 his account of a Russian embassy to China, a translation of his book, published the same year, introduced the word shaman to English speakers. The etymology of the Evenki word is sometimes connected to a Tungus root ša- to know, other scholars assert that the word comes directly from the Manchu language, and as such would be the only commonly used English word that is a loan from this language. This proposal has been thoroughly critiqued since 1917, ethnolinguist Juha Janhunen regards it as an anachronism and an impossibility that is nothing more than a far-fetched etymology. Ethnolinguists did not develop as a discipline nor achieve contact with these communities until the late 19th century, there is no single agreed-upon definition for the word shamanism among anthropologists. The English historian Ronald Hutton noted that by the dawn of the 21st century, the first of these uses the term to refer to anybody who contacts a spirit world while in an altered state of consciousness. The second definition limits the term to refer to those who contact a spirit world while in a state of consciousness at the behest of others. Problematically, scholars advocating the third view have failed to agree on what the defining technique should be, the fourth definition identified by Hutton uses shamanism to refer to the indigenous religions of Siberia and neighboring parts of Asia. According to the Golomt Center for Shamanic Studies, a Mongolian organisation of shamans, Shamans are normally called by dreams or signs which require lengthy training. However, shamanic powers may be inherited, turner and colleagues mention a phenomenon called shamanistic initiatory crisis, a rite of passage for shamans-to-be, commonly involving physical illness and/or psychological crisis
8.
Old Norse religion
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Norse religion refers to the religious traditions of the Norsemen prior to the Christianization of Scandinavia, specifically during the Viking Age. Norse religion is a folk religion and it was the northern variation of the religion practiced in the lands inhabited by the Germanic tribes across most of Northern and Central Europe prior to Roman and Holy Roman incursions. However, it was not formalized nor categorized as a subset of Germanic paganism until it was described by outsiders who came into contact with native practitioners. The Norse - or people of Scandinavia - have always had contact with cultures outside Scandinavia. They were well aware of foreign religions and they traded, intermarried and sometimes worked as henchmen for other cultures, including the Romans. Most titles bestowed upon Norse religion are the ones which were used to describe the religion in a competitive manner, some of these terms were hedendom, Heidentum, Heathenry or Pagan. A more romanticized name for Norse religion is the medieval Icelandic term Forn Siðr or Old Custom, knowledge about Norse religion has been gathered from archaeological discoveries and from literature produced after the Christianization of Scandinavia. The literary sources that reference Norse paganism were written after the religion had declined, the vast majority of this came from 13th-century Iceland, where Christianity had taken longest to gain hold because of its remote location. The key literary texts for the study of Norse religion are the Prose Edda by Snorri Sturluson, the Gesta Danorum by Saxo Grammaticus and the Poetic Edda, by an unknown writer or writers. Saga literature informs us of the not only of the literate elite. Sagas are categorized on the basis of events described in the saga took place. Though Sagas are often mythical in nature, the ambitions are to give a realistic description of past events. Many sites in Scandinavia have yielded information about early Scandinavian culture. The oldest extant cultural examples are petroglyphs or helleristninger/hällristningar and these are usually divided into two categories according to age, hunting-glyphs and agricultural-glyphs. The hunting glyphs are the oldest and are found in Northern Scandinavia. These finds seem to indicate an existence based on hunting and fishing. These motifs were gradually subsumed by glyphs with more zoomorphic, or perhaps religious, the glyphs from the region of Bohuslän are later complemented with younger agricultural glyphs, which seem to depict an existence based more heavily on agriculture. These later motifs primarily depict ships, solar and lunar motifs, geometrical spirals and anthropomorphic beings and these finds shows several signs of rituals in a seemingly religious context, including some strong indications of human sacrifice such as the case of the Tollund Man bog body
9.
Scandinavian folklore
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Scandinavian folklore or Nordic folklore is the folklore of Norway, Sweden, Finland, Denmark, Iceland and the Faroe Islands. Collecting folklore began when Gustavus Adolphus of Sweden sent out instructions to all of the priests in all of the parishes to collect the folklore of their area in the 1630s and they collected customs, beliefs that were not sanctioned by the church, and other traditional material. Iceland and the Faroe Islands are not part of Scandinavia, because of their common Germanic origin, Scandinavian folklore shows a large correspondence with folklores elsewhere, such as England and Germany, among others. Most of what has survived there might be found, of a nature, in Finland and Sapmi. These beings could be scared by a piece of iron or steel, such as a strategically placed pair of scissors or a knife, or with salt and fire. The stories about the livings and doings of these beings, and their interaction with humans, even the helpful tomte, nisse, gårdbo or gårdbuk could turn into a fearsome adversary if not treated with caution and respect. Many of them blend into each other when their morals and/or place of residence are similar, when the folktales were collected and printed, the illustrators started to give shape to the creatures that had hitherto lingered in obscurity. The creatures underwent a metamorphosis and became concrete figures to the people of Scandinavian countries, perhaps most abundant are the stories about the race of trolls. Scandinavian trolls tend to be big, hairy, stupid. Any human with courage and presence of mind can outwit a troll, and they are said to have a temperament like a bear—which are, incidentally, their favorite pets—good-natured when they are left in peace, and savage when they are teased. Trolls come in different shapes and forms, and are generally not fair to behold. Trolls live throughout the land, dwelling in mountains, under bridges, while the trolls who live in the mountains are very wealthy, hoarding mounds of gold and silver in their cliff dwellings, the most dangerous trolls live in lonely huts in the forest. The trolls have their own king, called Dovregubben, who lives inside the Dovre Mountains with his court, Dovregubben and his court are described in detail in Ibsens Peer Gynt. After the integration of Christianity into Scandinavian folklore, trolls developed a hatred of church-bells, Trolls are often said to be able to change their appearance and did so in order to trick humans into doing what they wanted. For example, Trolls may present a beautiful appearance in order to trick a character into following them into their mountain home, then hold the character captive for years. In older tales, the word troll/trold may simply mean to badly harm/hurt someone, someone who is a troll is someone who may eat human flesh or engage in other socially-unacceptable acts, luckily, trolls are said to turn into stone when exposed to sunlight. The Huldra, Hylda, Skogsrå or Skogfru is a seductress who lives in the forest. One of her methods is to appear out of the rain and mist, friendly
10.
John Bauer (illustrator)
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John Albert Bauer was a Swedish painter and illustrator. His work is concerned with landscape and mythology, but he also composed portraits and he is best known for his illustrations of early editions of Bland tomtar och troll, an anthology of Swedish folklore and fairy tales. Bauer was born and raised in Jönköping, at 16 he moved to Stockholm to study at the Royal Swedish Academy of Arts. While there he received his first commissions to illustrate stories in books and magazines, and met the artist Ester Ellqvist and he traveled throughout Lappland, Germany and Italy early in his career, and these cultures deeply informed his work. He painted and illustrated in a nationalistic style, in part influenced by the Italian Renaissance. Most of his works are watercolors or prints in monochrome or muted colours, he also produced oil paintings and his illustrations and paintings broadened the understanding and appreciation of Swedish folklore, fairy tales and landscape. When Bauer was 36, he, Ester and their son, Bengt, John Bauer was born and raised in Jönköping, the son of Josef Bauer, a man of Bavarian origin, and Emma Charlotta Wadell, from a farming family from the town Rogberga just outside Jönköping. Josef Bauer came to Sweden in 1863, penniless and he founded a successful charcuterie business at the Östra Torget in Jönköping. The family lived in the apartment above the shop until 1881 when the construction of their house in Sjövik was completed. John, born in 1882, lived at the Villa Sjövik by the shore of Lake Rocksjön with his parents, the family home would remain central to him long after he lived on his own. His initial schooling was at the Jönköpings Högre Allmäna Läroverk, followed by the Jönköpings Tekniska Skola from 1892 to 1898 and he spent most of his time drawing caricatures of his teachers and daydreaming, something not appreciated by his teachers. He was given to sketching and drawing from an early age, however, when he turned sixteen and wanted to go to Stockholm to study art, they were enthusiastic for him and backed him financially. In 1898, he was one of the 40 applicants to study at the Royal Swedish Academy of Arts and he spent the next two years at the Kaleb Ahltins school for painters. During this time he was, like most teenagers, torn between hope and despair, something that is reflected in his artwork. By 1900, he was old enough to attend the Academy of Arts and he studied traditional illustrations and made drawings of plants, medieval costumes and croquis, all of which served him in his later work. One of his teachers, professor and noted historic painter, Gustaf Cederström praised Bauer, While at the academy, he received his first commissions to illustrate magazines and books. In 1904 he traveled to Lappland to create paintings for a book on the culture of the county, at the end of 1905, he left the academy and put Artist on his business card. Following the discovery of ore deposits in the north of Sweden, Lappland became a frontier for industrial development, instead of an exotic wilderness of the Sami culture
11.
Valkyrie
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In Norse mythology, a valkyrie is one of a host of female figures who choose those who may die in battle and those who may live. Selecting among half of those who die in battle, the valkyries bring their chosen to the hall of the slain, Valhalla. There, the deceased warriors become einherjar, when the einherjar are not preparing for the events of Ragnarök, the valkyries bear them mead. They appear throughout the poetry of skalds, in a 14th-century charm, scholarly theories have been proposed about the relation between the valkyries, the norns, and the dísir, all of which are supernatural figures associated with fate. Archaeological excavations throughout Scandinavia have uncovered amulets theorized as depicting valkyries, in modern culture, valkyries have been the subject of works of art, musical works, video games and poetry. The word valkyrie derives from Old Norse valkyrja, which is composed of two words, the noun valr and the verb kjósa, together, they mean chooser of the slain. The Old Norse valkyrja is cognate to Old English wælcyrge, from the Old English and Old Norse forms, philologist Vladimir Orel reconstructs a Proto-Germanic form, *wala-kuzjōn. However, the term may have been borrowed into Old English from Old Norse, other terms for valkyries in Old Norse sources include óskmey, appearing in the poem Oddrúnargrátr and Óðins meyjar, appearing in the Nafnaþulur. Óskmey may be related to the Odinic name Óski, referring to the fact that Odin receives slain warriors in Valhalla, valkyries are mentioned or appear in the Poetic Edda poems Völuspá, Grímnismál, Völundarkviða, Helgakviða Hjörvarðssonar, Helgakviða Hundingsbana I, Helgakviða Hundingsbana II and Sigrdrífumál. In stanza 30 of the poem Völuspá, a völva tells Odin that she saw valkyries coming from far away who are ready to ride to the realm of the gods. The völva follows this with a list of six valkyries, Skuld who bore a shield, Skögul, Gunnr, Hildr, afterwards, the völva tells him she has listed the ladies of the War Lord, ready to ride, valkyries, over the earth. A prose introduction in the poem Völundarkviða relates that the brothers Slagfiðr, Egil, there, early one morning, the brothers find three women spinning linen on the shore of the lake Úlfsjár, and near them were their swans garments, they were valkyries. Two, daughters of King Hlödvér, are named Hlaðguðr svanhvít and Hervör alvitr, the brothers take the three women back to their hall with them—Egil takes Ölrún, Slagfiðr takes Hlaðguðr svanhvít and Völund takes Hervör alvitr. They live together for seven winters, until the women fly off to go to a battle, Egil goes off in snow-shoes to look for Ölrún, Slagfiðr goes searching for Hlaðguðr svanhvít and Völund sits in Úlfdalir. He finds one particularly striking, this valkyrie is detailed later in a narrative as Sváva, king Eylimis daughter. The valkyrie speaks to the man, and gives him the name Helgi. The valkyrie tells him she knows of a hoard of swords in Sigarsholm, and that one of them is of particular importance, further into the poem, Atli flytes with the female jötunn Hrímgerðr. After Hrímgerðr is turned to stone by the daylight, a prose narrative continues that Helgi, Helgi and Sváva are betrothed and love one another dearly
12.
Sigurd
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Sigurd is a legendary hero of Norse mythology, as well as the central character in the Völsunga saga. The earliest extant representations for his legend come in form from seven runestones in Sweden and most notably the Ramsund carving. As Siegfried, he is one of the heroes in the German Nibelungenlied, as Sivard Snarensven he was the hero of several medieval Scandinavian ballads. The name Sigurðr is not the name as the German Siegfried. The Old Norse form of Siegfried would have been Sigfroðr, Sivard is a variant form of Sigurðr. These name forms all share the first element Sig-, which means victory, in the Völsunga saga, Sigurd is supposedly the posthumous son of Sigmund and his second wife, Hiordis. Sigmund dies in battle when he attacks Odin, and Odin shatters Sigmunds sword, dying, Sigmund tells Hiordis of her pregnancy and bequeaths the fragments of his sword to his unborn son. Hiordis marries King Alf, and then Alf decides to send Sigurd to Regin as a foster, Regin tempts Sigurd to greed and violence by first asking Sigurd if he has control over Sigmunds gold. When Sigurd says that Alf and his control the gold and will give him anything he desires. Sigurd replies that he is treated as an equal by the kings, then Regin asks Sigurd why he acts as stableboy to the kings and has no horse of his own. Sigurd then goes to get a horse, an old man advises Sigurd on choice of horse. In this way Sigurd acquires Grani, a directly descended from Odins own horse. Finally, Regin tries to tempt Sigurd by telling him the story of the Otters Gold, Regin explains to Sigurd that his father is Hreidmar, a powerful magician, and that his two brothers are Ótr and Fafnir. Regin explains that he is a master at smithing and he also describes how his brother, Ótr possesses many magical talents. Regin tells a story of how Ótr enjoys taking the form of an otter and swimming at a waterfall, Andvari often assumes the form of a pike and swims in the same pool as well. One day, the Æsir see Ótr in the form of an otter carrying a fish in his mouth on the banks, loki kills him for his pelt. They take the pelt to the home of Hreidmar to display their catch. Hreidmar, Fafnir, and Regin promptly seize the Æsir and demand compensation for the death of Ótr, loki acquires a net from the sea giantess, Rán
