The Gosforth Cross is a large stone monument in St Mary's churchyard at Gosforth in the English county of Cumbria, dating to the first half of the 10th century AD. Formerly part of the kingdom of Northumbria, the area was settled by Scandinavians some time in either the 9th or 10th century. It has gained reputation for its combination of Christian symbols with Nordic symbols, being a tangible piece of evidence of the impact of the Christianization of Scandinavia.
The Gosforth Cross has elaborate carvings which have been interpreted as representing characters and scenes from Norse mythology, similarly to how the Jelling stones in Denmark depict Jesus with other Norse mythological characters. Its design is modelled after the cross design that originated during the Christianization of Ireland. [1] The Gosforth Cross was first identified in 1886 by the amateur antiquarian Charles Arundel Parker in his book The Ancient Crosses at Gosford and Cumberland. He demonstrated that the cross showed scenes described in the Poetic Edda . [2] Those include images identified as:
It is currently debated amongst scholars whether the sources were added to the Cross out of reverence for Viking beliefs and still clinging to their own identity [3] or as a way to parallel Norse mythology (i.e. Ragnarök, the death of Baldr) with Christian beliefs (i.e. the Apocalypse, the crucifixion of Christ). [4] Among the parallels is Loki being bound is allegorical for Satan being bound, the death of Baldr accompanied by Hod and Nanna interchangeable with Christ's death as witnessed by Longinius and Mary Magdalene, and the battle Odin has with Surtr similar to how Christ ultimately conquers the Devil.
Another is how the base of the cross has a tree-like design, looking like bark. This is a possible parallel between Yggsdrasil and the Tree of Life; [4] both featured heavily in their respective mythologies.
The cross also has Christian symbolism, including a depiction of the crucifixion of Christ. The combination of Christian and Norse pagan symbolism on the cross may be evidence of the use of pagan stories to illustrate Christian teachings. [2] Christ here is depicted as a deity of power, hence why he is absent on the cross on the tip. He was popularly interpreted as a deity of power amongst Viking culture. [3]
The cross is 4.4 metres (14 ft) tall and made out of red sandstone. It is estimated to date from 920 to 950 and is still in fairly good condition. Its design shows a strong Anglo-Saxon influence and suggests that the carvers were heavily influenced by Anglo-Saxon stone carving. [5] The importance of the Gosforth Cross (as well as the Irton Cross) caused the Victoria and Albert Museum to have replicas made in 1882, [6] which are on display in the Cast Hall at the museum. In 1887, the Rev. William Slater Calverley commissioned a replica life-sized copy of this cross and erected it in the churchyard at Aspatria, Cumbria. [7]
The church also has important hogback tombs, and what appears to be a fragment of another cross, showing the god Thor fishing.
The following images depict the 10th-century Gosforth Cross and related artefacts at St Mary's church. The images were published by Finnur Jónsson in Goðafræði Norðmanna og Íslendinga eftir Heimildum in 1913, and the identifications of the figures are those suggested by Jónsson in 1913.
Other Images
In Norse mythology, Brísingamen is the torc or necklace of the goddess Freyja, of which little else is known for certain.
Fenrir or Fenrisúlfr, also referred to as Hróðvitnir and Vánagandr, is a monstrous wolf in Norse mythology. In Old Norse texts, Fenrir plays a key role during the events of Ragnarök, where he is foretold to assist in setting the world aflame, resulting in the collapse of humanity and society, and kill the god Odin.
Freyr, sometimes anglicized as Frey, is a widely attested god in Norse mythology, associated with kingship, fertility, peace, prosperity, fair weather, and good harvest. Freyr, sometimes referred to as Yngvi-Freyr, was especially associated with Sweden and seen as an ancestor of the Swedish royal house. According to Adam of Bremen, Freyr was associated with peace and pleasure, and was represented with a phallic statue in the Temple at Uppsala. According to Snorri Sturluson, Freyr was "the most renowned of the æsir", and was venerated for good harvest and peace.
In Norse mythology, Freyja is a goddess associated with love, beauty, fertility, sex, war, gold, and seiðr. Freyja is the owner of the necklace Brísingamen, rides a chariot pulled by two cats, is accompanied by the boar Hildisvíni, and possesses a cloak of falcon feathers. By her husband Óðr, she is the mother of two daughters, Hnoss and Gersemi. Along with her twin brother Freyr, her father Njörðr, and her mother, she is a member of the Vanir. Stemming from Old Norse Freyja, modern forms of the name include Freya, Freyia, and Freja.
In Norse mythology, Heimdall is a god. He is the son of Odin and nine mothers. Heimdall keeps watch for invaders and the onset of Ragnarök from his dwelling Himinbjörg, where the burning rainbow bridge Bifröst meets the sky. He is attested as possessing foreknowledge and keen senses, particularly eyesight and hearing. The god and his possessions are described in enigmatic manners. For example, Heimdall is golden-toothed, "the head is called his sword," and he is "the whitest of the gods."
Loki is a god in Norse mythology. He is the son of Fárbauti and Laufey, and the brother of Helblindi and Býleistr. Loki is married to the goddess Sigyn and they have two sons, Narfi or Nari and Váli. By the jötunn Angrboða, Loki is the father of Hel, the wolf Fenrir and the world serpent Jörmungandr. In the form of a mare, Loki was impregnated by the stallion Svaðilfari and gave birth to the eight-legged horse Sleipnir.
In Norse mythology, Ragnarök is a foretold series of impending events, including a great battle in which numerous great Norse mythological figures will perish ; it will entail a catastrophic series of natural disasters, including the burning of the world, and culminate in the submersion of the world underwater. After these events, the world will rise again, cleansed and fertile, the surviving and returning gods will meet, and the world will be repopulated by two human survivors, Líf and Lífþrasir. Ragnarök is an important event in Norse mythology and has been the subject of scholarly discourse and theory in the history of Germanic studies.
In Norse mythology, Víðarr is a god among the Æsir associated with vengeance. Víðarr is described as the son of Odin and the jötunn Gríðr and is foretold to avenge his father's death by killing the wolf Fenrir at Ragnarök, a conflict he is described as surviving. Víðarr is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, the Prose Edda, written in the 13th century by Snorri Sturluson, and is interpreted as depicted with Fenrir on the Gosforth Cross. A number of theories surround the figure, including theories around potential ritual silence and a Proto-Indo-European basis.
Völuspá is the best known poem of the Poetic Edda. It dates back to the tenth century and tells the story from Norse Mythology of the creation of the world, its coming end, and its subsequent rebirth that is related to the audience by a völva addressing Odin. Her name is given twice as Heiðr. The poem is one of the most important primary sources for the study of Norse mythology. Parts of the poem appear in the Prose Edda, but the earliest known wholly-preserved version of the poem is in the Codex Regius and Hauksbók manuscripts.
In Norse mythology, Níðhöggr is a Serpent who gnaws at the roots of the world tree, Yggdrasil. In historical Viking society, níð was a term for a social stigma, implying the loss of honor and the status of a villain. Thus, its name might refer to its role as a horrific monster in its action of chewing the corpses of the inhabitants of Náströnd: those guilty of murder, adultery, and oath-breaking.
In Norse mythology, Váli is a god and the son of the god Odin and the female jötun Rindr. Váli has numerous brothers including Thor, Baldr, and Víðarr. He was born for the sole purpose of avenging Baldr, and does this by killing Höðr, who was an unwitting participant, and binding Loki with the entrails of his son Narfi. Váli grew to full adulthood within one day of his birth, and slew Höðr before going on to Loki. He is prophesied to survive Ragnarök.
In Norse mythology, Jörmungandr, also known as the Midgard Serpent or World Serpent, is an unfathomably large and monstrous sea serpent or worm who dwells in the world sea, encircling the Earth (Midgard) and biting its own tail, an example of an ouroboros. As a result of his surrounding Midgard, the beast is referred to as the World Serpent. Jörmungandr releasing his tail is one of the signs of the beginning of Ragnarök.
Mjölnir is the hammer of the thunder god Thor in Norse mythology, used both as a devastating weapon and as a divine instrument to provide blessings. The hammer is attested in numerous sources, including the 11th century runic Kvinneby amulet, the Poetic Edda, a collection of eddic poetry compiled in the 13th century, and the Prose Edda, a collection of prose and poetry compiled in the 13th century. The hammer was commonly worn as a pendant during the Viking Age in the Scandinavian cultural sphere, and Thor and his hammer occur depicted on a variety of objects from the archaeological record. Today the symbol appears in a wide variety of media and is again worn as a pendant by various groups, including adherents of modern Heathenry.
In Norse mythology, Gjallarhorn is a horn associated with the god Heimdallr and the wise being Mímir. The sound of Heimdallr's horn will herald the beginning of Ragnarök, the sound of which will be heard in all corners of the world. Gjallarhorn is attested in the Poetic Edda, compiled in the 13th century from earlier traditional material, and the Prose Edda, written in the 13th century by Snorri Sturluson.
Þrymskviða is one of the best known poems from the Poetic Edda. The Norse myth had enduring popularity in Scandinavia and continued to be told and sung in several forms until the 19th century.
Lóðurr is a god in Norse mythology. In the Poetic Edda poem Völuspá, he is assigned a role in animating the first humans, but apart from that he is hardly ever mentioned, and remains obscure. Scholars have variously identified him with Loki, Vé, Vili, and Freyr, but consensus has not been reached on any one theory.
The Norse mythology, preserved ancient Icelandic texts such as the Poetic Edda, the Prose Edda, and other lays and sagas, was little known outside Scandinavia until the 19th century. With the widespread publication of Norse myths and legends at this time, references to the Norse gods and heroes spread into European literary culture, especially in Scandinavia, Germany, and Britain. In the later 20th century, references to Norse mythology became common in science fiction and fantasy literature, role-playing games, and eventually other cultural products such as Japanese animation. Storytelling was an important aspect of Norse mythology and centuries later, with the rediscovery of the myth, Norse mythology once again relies on the impacts of storytelling to spread its agenda.
In Norse mythology, Njörun is a goddess attested in the Prose Edda, written in the 13th century by Snorri Sturluson, and various kennings. Scholarly theories concerning her name and function in the pantheon include etymological connections to the Norse god Njörðr and the Roman goddess Nerio, and suggestions that she may represent the earth or be the unnamed sister-wife of Njörðr.
St Mary's Church in the village of Gosforth, Cumbria, England, is an active Anglican parish church in the deanery of Calder, the archdeaconry of West Cumberland, and the diocese of Carlisle. Its benefice is united with those of St Olaf, Wasdale Head, and St Michael, Nether Wasdale. The church is recorded in the National Heritage List for England as a designated Grade I listed building. It is associated with "a unique Viking-age assemblage" of carved stones.
The Sybil's Visions is the 15th and final volume in the Valhalla comic series. The volume is a retelling of the myth of Ragnarök and is, as the original title suggests, primarily based on the Völuspa. Like the other later volumes in the series, it was extensively researched. The result of this research is described in the afterword and in detail in writer Henning Kure's book I begyndelsen var skriget: Vikingetidens myter om skabelsen. ähzfy XOXO cnn
