Heraldry for a Non-Heraldic Culture:
Vikings and Coats of Arms in the SCA
Dear Viking Answer Lady:
I've tried several times to come up with a coat of arms to be registered with the SCA College of Heralds, but everything I've tried so far has either been rejected, or conflicts with a dozen other guys named "Sven" who also have a Thórr's Hammer or longship or wolf or raven on their arms. Can you help me?
(signed) Heraldic Reject
Gentle Reader:
The Vikings did not use heraldry, which was an invention of Western Europe beginning in the eleventh century. Still, people in the SCA with Viking personas often wish to create and register devices and coats of arms, and this guide is intended to assist them in creating designs with a recognizably Viking feel yet which still conform to the much later usages of formal heraldry.
As a starting point, before ever beginning to develop a device for SCA registration, I urge my Gentle Readers to take a few moments to read Mistress Thóra Sharptooth's excellent article, Personal Display for Viking Age Personae: A Primer for Use in the SCA. Mistress Thóra describes some of the documentable color choices, motifs suitable for charges on a device, and suggests ways other than the SCA's traditional heraldry one can indicate one's household and belongings. This is a great place to start.
My own experience in registering arms with the SCA College of Heralds has taught me that it is best to design arms for submission using designs as they appear in traditional heraldry only - not "Viking flavored" art. The good news is that the heraldic "vocabulary" of symbols is very large, and there are many charges found in period coats of arms that would be at home in the Viking Age as well. There are also a few specifically Viking symbols that the College of Arms has registered in the past, though this is not a reliable guide to whether or not they may be registered in the future. Once the design has passed, one may use some artistic license to make subsequent drawings of your arms have more of a Viking Age feel, but it is still best to keep the elements recognizable across a large battlefield.
Read the Rules
Another point to consider before trying to put together a device or coat of arms are the actual rules and regulations for devices used by the SCA College of Heralds. These are all available on-line, and you should read through them briefly before you start designing. Your local herald should also be able to help you:
- Standards for Evaluation of Names and Armory (SENA)
The rules used by the College of Arms to judge submissions of name and armory. - Adminstrative Handbook
Defines what can be registered, what is protected, submission procedures, and heraldic responsibilities in the SCA. - Glossary of Terms
Defines many technical terms used in SCA heraldry and includes tables of reserved/restricted charges, proper colorations for charges, default postures, and misused terms.
Shields
The Vikings used the roundshield, usually with a shield boss, a dome of metal in the middle protecting a cutout in which the handgrip was placed. These shields averaged 31.5" to 35.5" in diameter and were about 0.25" to 0.39" thick, made of a a single layer of planks butted together, and was held together probably by glueing the plank edges together, but also by the attachments of the boss, handgrip and rim bindings. Some shields were also covered in a thin layer of leather, but not all, since traces of paint are found directly on the wood in some cases. For more details on the archaeology and construction of Viking Age shields, see Peter Beatson's The 'Viking Shield' from Archaeology.
Heraldic submissions forms, however, are based on the so-called "heater shield". If you will be using a Viking roundshield in battle, and want your device on that shield, give some thought as to how your design will appear both on the heraldic submission form, and also painted upon a round shield.
Shield Divisions
- Gyronny, while found in armory all across Europe, makes a very small percentage of total heraldic motifs. Almost half of all gyronny designs are in eight parts, with about a quarter having ten sections.
- A gyronny with a number of sections that is a multiple of four is usually symmetrical on both the pale line and the fess line, while most other gyronny has its axis of symmetry on the pale line.
- Most gyronny combines a metal (argent twice as often as Or) with gules, azure, or sable. Over half of all emblazons with gyronny have no charges; just under a quarter have a central charge, usually a red escutcheon, a fifth include a chief, and a very few have a central charge combined with peripheral or overall charges.
Undivided Field
Most surviving shields from the Viking Age are a single color, undivided field, with the most common colors being red, yellow, or black. The Gokstad ship burial contained 64 shields, with some painted solid black and and others solid yellow, displayed alternately (Priest-Dorman, "Personal Display").
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Viking Age shield remains show the most common colors as being red, yellow, or black one-color undivided fields. |
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| Gules | Or | Sable | Argent | Azure |
Gyronny, Gyronni Arrondi
A number of carved runestones and picture-stones from the Viking Age depict warriors bearing shields with the face inscribed with radiating lines, which would be described in formal heraldic terms as gyronny or, if the lines curve, gyronny arrondi. Some examples include:
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Gyronny Arrondi as a heraldic field division |
Gyronny as a heraldic field division |
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Gyronny Arrondi Tängelgårda Picture Stone, Lärbro Parish |
Gyronny Arrondi Lillbjärs Picture Stone, Stenkyrka Parish |
A note on gyronny arrondi, alignment of the gyrons, and SCA heraldry.
In the Precedents of Bruce Draconarius of Mistholme (8 May, 1993 Cover Letter, March 1993 LoAR, pg. 3), a ruling was made which stated in part:
"Parker, p.301, states that gyronny of six should be symmetric around the horizontal axis, not the vertical axis; and this is borne out by such period examples as I've been able to uncover. Gyronny of six palewise is purely an SCA term for what is, as far as I can tell, a non-period rendition of the field †... If someone can provide evidence that gyronny of six palewise was used in period armory, I will continue to accept it; failing such evidence, I will begin returning it at the Oct 93 meeting."
As suggested above, the SCA herald expects that a gyronny will have a line of division on the fess-line of the device. The gyronni arrondi shown here does not have a line of division running on the fess-line (a fess-line bisects the shield via a straight line run across the middle, dividing the field into top and bottom halves). Early Norwegian heraldry, however, does use the version shown here, as early as the 14th century: see the arms of Erling Amundsson in 1303, in: Huitfeldt-Kass, Henrik Jørgen, Norske Sigiller fra Middelalderen, 8 vols. Kristiania/Oslo: 1899-1950, entry 30, p.3 and plate 8]. Nine years later he sealed with a similar gyronny arrondy of six (see entry 62 in Norske Sigiller, above): the lines curve in the same direction (clockwise moving out from the centre), and each of the three corners of the shield is approximately in the centre of a piece. There is no line that closely follows the per fess line. (Special thanks to Arval Benicoeur, Richenda du Jardin, and Talan Gwynek, who contributed the factual elements of the discussion of medieval and Norwegian use of gyronny arrondi here.)
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| Gyronny Arrondi Seal of Erling Amundssøn |
†I have also found two examples gyronny of six with the axis on the pale line in the c.1558 Universeel Wapenboek, so while this orientation was uncommon, it was used in medieval European heraldry in some rare instances.
I made a study of gyronny in European heraldry, in which I discovered:
Per Saltire
If a shield is divided into four parts with the dividing lines running diagonally (45°), then the field can be described as per saltire.
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Sketch of design from Oseberg Tapestry showing saltire-like designs. |
Per saltire as a heraldic field division. |
Quarterly
If a shield is divided into four parts with the dividing lines running vertically and horizonally, then the field can be described as quarterly.
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Quarterly as a heraldic field division. |
Paly as a heraldic field division. |
Paly
Some people like the inspiration from the stereotypic striped Viking Age ship's sails. In heraldry, a field patterned with vertical stripes is termed paly. Striped sails are mentioned specifically in Ólafs saga Tryggvasonar ch. 101:
"Ekki er þetta konungsskip. Kenni eg þetta skip og seglið því að stafað er seglið."
[That is not the king's ship. I know that ship by the colored stripes of cloth in her sail.]
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Oseberg ship model by NorseAmerica, LLC. |
Striped sails from the Bayeux Tapestry |
Lozengy, Fusily or Fretty
Again, in taking inspiration from the sails of Viking Age ships, the runestones and picture-stones suggest that many were divided in a diamond-shaped pattern which is known in heraldry as lozengy, or if the diamonds are longer and narrower, fusily. A pattern divided by interwoven stripes in a diamond-shaped pattern would be called fretty.
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| Fretty Ship from Lillbjärs Picture Stone, Stenkyrka Parish | Lozengy Ship Close-up from Tjängvide Picture Stone, Alskog Parish |
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| Lozengy Tjängvide Picture Stone, Alskog Parish | |
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| Lozengy | Fusily | Fretty |
Historical Heraldic Charges
Surprisingly enough to many people, there are a lot of heraldic charges that can also be found as design motifs in Viking Age archaeological contexts as well as in Viking Age art and literature. Below are shown a variety of heraldic charges, with images of Viking Age designs and artifacts that reflect that charge. Note that this is not a comprehensive list of all possible blazonable heraldic terms for items and motifs from the Viking Age, but rather should serve as a good starting point.
| Charge Name | Heraldic Representation (Click on image for larger view) |
Viking Age Examples (Some images may be clicked on for larger view) |
Notes |
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| Adze |
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Adze from the Mästermyr find (top); Adze in use from the Bayeux Tapestry (bottom) |
| Arm with Fist |
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Viking loot; Irish reliquary of a hand and arm. |
| Arrow, Bird Blunt, Pheon, Arrow Head |
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Viking Age arrowheads in iron and reindeer antler. |
| Axe |
 
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Axe-head from Mästermyr find (top); Mammen Axe (bottom) | |
| Basket |
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Reconstruction of a Viking Age willow-withy basket from Jorvik. |
| Bear |
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Jet bead depicting two bears (top); Viking Age "hogback" grave markers from North Yorkshire depicting bears at either end (bottom). |
| Bell |
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Cowbell-like bronze bell from Norway (top); Bronze bell from Hedeby c. 950 (bottom) |
| Bellows |
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Reconstruction of Viking paired bellows used with a glass furnace. |
| Boar |
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Relief carving of a wild boar from the Isle of Man. |
| Bowen knot |
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Picture stone from Havor, Hablingbo parish. |
| Buck, Hart, Stag |
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11th c. Ringerike-style tombstone, England. |
| Bucket |
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Oseberg bucket (left); Bronze-covered birch bucket (right) |
| Buckle |
 
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Bronze buckle from Broa (top); Silver buckle from Birka (middle); Bronze garter buckle (bottom). |
| Bull |
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Bull from the Gundestrop cauldron. |
| Cat |
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Cat design on bronze tortiose-shell brooch, Jutland. |
| Chalice |
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Silver cup from Jelling. |
| Chess Rook |
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Pieces from the Lewis chess set. |
| Cinquefoil |
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Baltic rock crystal and silver pendant. Be aware that this charge can conflict with heraldic roses, which are used on very many registered SCA devices, providing lots of opportunity for conflicts. |
| Cock |
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Cock's head from a wooden mount, Dublin |
| Comb |
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One-Piece Walrus Ivory Comb with Ringerike Design |
| Crescent, Decrescent, Increscent |
 
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Part of earring from Birka, of Slavic origin (top); Baltic crescent pendant (bottom) |
| Cross |
 
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Byzantine equal-armed cross found in Norway (top); Icelandic silver knotwork cross (middle); Danish cross, ca. 1065 (bottom) |
| Crucifix |
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9th century silver crucifix from Birka. |
| Dagger, Knife |
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Viking Age bone-handled knife, Yorkshire |
| Duck |
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Reconstruction of Baltic-type waterbird ornament. |
| Eagle |
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Eagle, gilt-bronze harness-mount, Gotland (top); Ship's weathervane with eagle design, Heggen, Norway (bottom) |
| Ewer |
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Imported Rhineware jug found at Birka |
| Falcon |
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Falcon from the Alstad runsetone, Norway |
| Fetterlock, Padlock |
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Viking Age padlocks from Jorvik (York, England). |
| Fleshpot, Pot, Cauldron |
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Iron cauldron from Telemark, Norway |
| Fleur de Lys |
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Left: Holm Runestone, Halland (ca. 1050-1200AD, Thanks to Hrefna for pointing this one out!). Center: Lily-stones, sporting fleur-de-lys-like designs, appeared in stone churches in Västergötland during the 10th and 11th c. Right: Fleur-de-lys designed belt-buckles from Fröjel. |
| Furison, Fire-Steel |
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Baltic-influenced fire-steel from Sweden (top left);
10th c. fire-steel from Birka grave 644 (top right); C-shaped firesteel from Birka grave 139 (bottom left); C-shaped firesteel from Kangsala, Juvenius, Finland |
| Fylfot |
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Silver brocaded tablet-woven band with fylfot design from Jylland, Denmark. This motif is extremely common in early European textiles, and is associated with the god Thórr. However, because of its modern era usage by the Nazi Party (NSDAP) it is not allowed as a charge in SCA heraldry (see SENA A.7.B.4 and the Table of Restricted Charges under swastika). |
| Goat |
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Bronze goat figure from a Thórr-thunderstone brooch. The god Thórr had a wheeled conveyance that was pulled by goats. |
| Greyhound, Talbot |
 
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Dog from the Alstad Runestone, Norway. |
| Head, Savage's Head |
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Carved head from Oseberg Ship Burial, ca. late 9th c. (top); Carved Head on Sledge, Oseberg Ship Burial, late 9th c. (middle); 7th century enamelled belt buckle found in Norway (bottom) |
| Hind |
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Representation of hind feeding on the branches of the World Tree from the Urnes stave church. |
| Horn |
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Reconstruction of Viking instrument made of cow-horn (top); Drinking horns from Söderby-Karl, Sweden (bottom). |
| Horse |
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Tapestry depicting Viking horses, ca. 1100 C.E. from Skog Church, Hälsingland, Sweden (top); Gilded bronze horse in Ringerike style from Denmark (bottom) |
| Horse Bit, Snaffle Bit |
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Viking Age iron snaffle bit from Hedmark, Norway. |
| Horse Shoe |
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Viking Age iron horseshoe. |
| Key |
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Viking Age bronze key, Denmark. |
| Lion, Lion Face |
 
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Lion from Heggen weathervane (top); Pen case lid with carved lion head (bottom) |
| Quatrefoil |
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Baltic rock crystal and silver pendant. Be aware that this charge can conflict with heraldic roses, which are used on very many registered SCA devices, providing lots of opportunity for conflicts. |
| Ram, Fleece, Sheep, Lamb |
 
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Icelandic sheep (top); Shetland Sheep (middle); Orkney sheep (bottom) |
| Raven, Crow |
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Raven from King Anlaf Coin (top); Raven, Bronze Brooch from Lousgaard, Bornholm, Denmark (middle); Bronze Raven Brooch, Ringerike (bottom) |
| Saltire |
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Saltires shown from shields in the the Oseberg Tapestry. |
| Serpent |
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Snake brooch from Óland, Sweden, 7th c. (top); Ringerike-style serpent-form arm ring from Sweden (bottom) |
| Shears |
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Viking Age iron shears from Wolin, Poland (top); Iron shears from Akershus, Norway (bottom) |
| Spear, Spearpoint |
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An assortment of Viking Age spearpoints |
| Spur |
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10th C. Jellinge-style spurs, Norway (top); Silver spurs from Dorestad (middle); Spurs from Gjermundbu, Norway (bottom) |
| Stirrup |
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Norse and Anglo-Norse stirrups ornamented in silver and gold. |
| Stool |
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Lund Stool, 11th century, Birch Wood (top); A Three-Legged Stool from York (bottom) |
| Sword |
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Viking Age swords and representations of swords. |
| Trumpet |
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Reconstruction of a Viking Age lur, a type of straight trumpet made of wood. A lur was found in the Oseberg ship burial, ca. 834 AD. |
| Wake knot |
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Urnes style decoration from a painted church beam. |
| Wheel, Cart Wheel |
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Wheel from the Oseberg ship burial cart. |
| Wolf |
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Wolf from bronze belt-mount (left); Wolf from the Cammin Casket (right) |
| Woman |
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Silver valkyrie amulets and runestone carvings depict these supernatural females dressed as ordinary women. |
SCA Heraldic Charges
There are certain charges in use in the SCA that do not occur in formal heraldry, yet which are considered registerable charges by the College of Heralds. Some of these are Viking Age art motifs. To be used in such a fashion, the design has to be easily recognizable on a device, it has to be shown to belong within the SCA's period, and it must be reproducable based solely on the text description of the charge. This section lists some of the SCA heraldic charges applicable to a Viking persona.
| Charge Name | Heraldic Representation (Click on image for larger view) |
Viking Age Examples (Some images may be clicked on for larger view) |
Notes |
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| Drakkar, Dragonship, Longship, Viking Longship, Viking Ship |
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Shown here is the ship from the Lillbjärs Picture Stone, Stenkyrka Parish. As of February 2004, there were nearly 130 devices with a Viking ship motif, including drakkar (101 instances), dragonship (2 instances), longship (25 instances), Viking ship (1 instance). This is definitely an SCA "heraldry cliché", and with the number of competing devices out there using this design it might be easier to look at other motifs instead. From The 2nd Tenure of Da'ud ibn Auda (November 1993 - June 1996): [A drakkar sailing to sinister proper, sailed gules] "Conflict with...a galley proper." [Discussion of addition of secondaries implies that there is no tincture difference or posture difference given here.] (LoAR 7/91 p.20). [A galley proper vs. a ship reversed proper sails gules] "There is one CD for the field, but nothing for the orientation of the ship or for changing the tincture of the sails which amount to approximately one third of the primary charge. No evidence was presented that period heralds allowed any difference for changing the tincture of the sails on a ship." (LoAR 11/91 p.20). From Laurel Sovereign At Arms Precedents: The Tenure of Bruce Draconarius of Mistholme (June 1992 - October 1993): We have hitherto granted no difference for type of ship [galley vs. longship] (Erik the Runt, June, 1992, pg. 4) A longship is so nearly symmetric, reversing it cannot count as a ...CD. (Erik the Runt, June, 1992, pg. 4) The seal of the town of Bergen, c.1300, shows a double-headed drakkar, with genuine dragon-head prows. Whether or not the Vikings actually sailed such a ship, they were depicted doing so in medieval art. (Ingvarr Vikarsson, August, 1992, pg. 5) From Laurel Sovereign At Arms Precedents: The Tenure of Wilhelm von Schlüssel (August 1979 - August 1984): A charge facing towards the sinister side is "to sinister," while a charge lying in the sinister half of the field is "in sinister." The facing comes after the mention of the charge, but the location comes before it. Thus a drakkar sailing under full sail towards the sinister edge is "a drakkar under full sail to sinister," but a drakkar located in the sinister half of the field but sailing towards the dexter is "in sinister a drakkar under full sail." The same applies to "in chief" versus "to chief" or "in base" versus "to base." WVS [47] [CL 30 Jul 81], p. 5 From Laurel Sovereign At Arms August 1982 Letter of Acceptances and Returns: Conrad de Burgh. Azure, a pale argent surmounted by a drakkar and in chief three mullets counterchanged. Draw all charges larger. Fill the shield. The standard Viking longship is called a drakkar. This is sufficiently different from Storvik. From Laurel Sovereign At Arms October 1976 Letter of Acceptances and Returns: AEmelye Octavya. Vert, a drakkar in full sail argent, targeted gules, and in base a crescent Or. "Targeted" refers to the round shields along the bulwark. |
| Thórr's Hammer |
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Thórr's Hammer from Erikstorp, Ödeshög parish (left);
Silver Thórr's Hammer Pendant (right) The Thórr's Hammer is a popular charge for SCA vikings, with at least 86 registrations as of February 2004. This is probably a "heraldry cliché" at this point, and with the number of competing devices out there using this design it might be easier to look at other motifs instead. From Precedents of the SCA College of Arms. Vol I The Early Years (1972-1975), 2nd ed. 1984: The "prohibition on devices magickal" is on: symbols of evil intent, letters in any alphabet (on devices), alchemical and astrological signs. Thus, a Thor's Hammer is quite proper, but an inverted pentangle is not. (IoL, 1 Sep 73 [70], p. 4) From Laurel Sovereign At Arms Precedents: The Tenure of Karina of the Far West (December 1975 - June 1979): [Mjollnir-pendant.] Even on stones, the hammer is placed haft-up as a decorative element, and head-up only when held in Thor's hand. (KFW, 29 Oct 76 [9], p. 3) |
| Valknútr |
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Two valknuts appear between the legs of the horse in this scene from the Tängelgårda Picture Stone, shown here. The Old Norse term valknut means "corpse-knot," and because of this symbol's association on Viking Age runestones with figures of Óðinn and the dead being welcomed into the afterlife by valkyries, the runestone symbol has become associated with the Old Norse term and is assumed to be that symbol that warriors marked themselves with when dedicating themselves to Óðinn, giving the god permission to kill and take the warrior whenever he pleased. Surprisingly, as of February 2004 there were only 8 SCA registrations of arms with a valknut, most recently in 2002. From Laurel Sovereign At Arms June 2002 Letter of Acceptances and Returns: Esteban de Quesada. Device. Sable, a valknut inverted argent. The Letter of Intent asked us to rule on whether the valknut should continue to be registered. As noted in the LoAR of September 1993, the valknut is a period artistic motif which was not used in period heraldry. It was incorporated into SCA heraldry and has been registered infrequently but steadily thereafter. The September 1993 argument in favor of the valknut's registration appears to continue to hold true. It is identifiable when inverted, just as a triangle is identifiable when inverted. Would-be users of the valknut should take note of the fact that its "thin-line" nature can make it difficult to identify. Poor contrast, small size or overlying charges are all likely to render it unidentifiable. Since this device uses the valknut as the only charge on a high contrast field, it maintains its identifiability splendidly. From Laurel Sovereign At Arms Precedents: The 1st Tenure of Da'ud ibn Auda (June 1990 - June 1992): "While there was some discussion regarding whether or not valknuts were thin-line heraldry, by definition they look like this, and it was our feeling that they should not then fall under the ban on thin-line heraldry in the same way that, say, a compass star voided would." (LoAR 8/90 p.9). From Laurel Sovereign At Arms Precedents: The Tenure of Bruce Draconarius of Mistholme (June 1992 - October 1993): Some commenters have urged that the valknut be disallowed. However, it's been quietly but continuously registered, during my tenure and those of my two immediate predecessors (v. the armory of Thorhalla Carlsdottir Broberg); it's a documented period artistic motif that has been accepted for Society armorial use. To disallow it at this point would require some better documented reason than "we don't like it". (Halvdan Stormulv, September, 1993, pg. 3) |
Medieval Scandinavian Heraldry
Heraldry did eventually find its way into Scandinavia after the end of the Viking Age. Looking at medieval Scandinavian coats of arms can help suggest designs and charges for the SCA Viking as well.
The Academy of St. Gabriel Report #2696 has an excellent discussion of early Scandinavian armory that is useful.
This report looks at the earliest Scandinavian heraldry (that from seals, ca. late 13th century) for which we have records, and European armorial records from the 13th to 15th centuries. From the armorial records, it is possible to extract an idea of how often the various tinctures were in use both in Europe as a whole and in Scandinavia:
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European vs. Scandinavian
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European vs. Scandinavian
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The Academy report finds that Scandinavian coats of arms most often used white (argent), often combined with red (gules), though they are also found with argent combined with blue or black (azure or sable). Coats of arms using gold and blue together (or and azure) were also common. This is very similar to the most common color preferences in the Viking Age as well (see above). Most early Scandinavian coats of arms used single-color fields, with some two-color fields divided vertically (per pale), and fewer still in two colors divided horizontally (per fess).
The report goes on to detail some of the charges found in early Scandinavian armory, including:
- fleurs-de-lis (very common, including demi-fleurs-de-lis, half the symbol sliced vertically down the middle)
- roses with five or six petals
- ships and boats
- towers and castles
- axes
- swords, often held by human arms
- mullets (stars), often with six points but sometimes with five or eight
- birds, especially eagles
- arrowheads
- various animals and parts of animals
In the notes for this report, blazons or descriptions of some of the early Scandinavian seal designs are also detailed, which are useful in creating new armorial designs in the same patterns.
Swedish Heraldry
- Hjelm, Jonas. Medeltidsvapen (Medieval Swedish Coats of Arms). Adelsvapen.com (Noble Coats of Arms) Website. Accessed 12 December 2005.
- Hjelm, Jonas. Vapensköldar (Medieval Swedish Coats of Arms Part 2). Adelsvapen.com (Noble Coats of Arms) Website. Accessed 12 December 2005.
- Hjelm, Jonas. Medeltidsvapen Del 3 (Medieval Swedish Coats of Arms Part 3). Adelsvapen.com (Noble Coats of Arms) Website. Accessed 12 December 2005.
- Hartemink, Ralf. Swedish Civic Heraldry. International Civic Heraldry Website. Accessed 12 December 2005.
[Includes arms of historical provinces (Landskapsvapnen), arms of administrative Provinces (Länsvapnen), arms of districts (Häradsvapnen) and arms of municipalities. Note the dates - many of the arms described on this site were granted very recently, in the last 100 years.]
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Norwegian Heraldry
- Hartemink, Ralf. Norwegian Civic Heraldry. International Civic Heraldry Website. Accessed 12 December 2005.
[Includes coats of arms of states/provinces and arms of cities, towns and municipalities. Note the dates - many of the arms described on this site were granted very recently, in the last 100 years.]
Danish Heraldry
- Hartemink, Ralf. Danish Civic Heraldry. International Civic Heraldry Website. Accessed Accessed 12 December 2005.
[Includes coats of arms of districts and municipalities. Note the dates - many of the arms described on this site were granted very recently, in the last 100 years.]
Bibliography
- Beatson, Peter.
The 'Viking Shield' from Archaeology. © 1995 - 2000.
Accessed 12 December 2005.
- Priest-Dorman, Carolyn
(Mistress Þóra Sharptooth).
Personal
Display for Viking Age Personae: A Primer for Use in the SCA.
Þóra's Viking Resources Webpage. © 2000, 2003.
Accessed 12 December 2005.
Heraldry
Heraldry Resources
- A Heraldic Primer.
Society for Creative Anachronism, Inc. 1995, 1996, 1998.
Accessed 12 December 2005.
- Fairfax, Alan.
The Heraldry Cliché Checklist: Ten Things
to Avoid When You're Designing SCA Armory.
Academy of St. Gabriel Website. 24 January 2002.
Accessed 12 December 2005.
- Thorpe, J.T. (Lord Eldred Ælfwald).
The Basics of Blazonry.
Wittsend Chained Library Website. 1998-2002.
Accessed 12 December 2005.
- Thorpe, J.T. (Lord Eldred Ælfwald).
Blazoning of Creatures.
Wittsend Chained Library Website. 1998-2002.
Accessed 12 December 2005.
Heraldic Clipart
- Association of Amateur Heralds.
Heraldic Clipart Page. 1999-2003.
Accessed 4 February 2004. (Link dead as of 12/12/05. The page may still be accessed via the Wayback Machine).
- Charges-R-Us MSN Group.
Heraldic Charges Repository.
Accessed 12 December 2005.
- Wolf, James.
Heraldry Clipart: Over 3,000 Pieces of
Heraldry Clipart. James Wolf Heraldry Website.
Accessed 12 December 2005.
Viking Age Art and Artifacts
Viking Art Resources
- Bartholm, Lis. Scandinavian Folk Designs. Dover Design Library.
New York: Dover Publications. 1988.
This small book includes drawings and photos of designs in many media, including weaving, carving, jewellry and more. There are Viking Age and medieval examples included, although this book also includes later periods as well. This book is useful mostly as a source of inspiration to craftsmen rather than as a "pattern book".
Buy this book today! - Davis, Courtney. A Treasury of Viking Design. London:
Constable & Co. 2000.
This 64-page book contains black and white line-drawings of motifs and designs from Viking art and artifacts. Many are enlarged versions of designs found in Wilson and Klint-Jensen's Viking Art (see below), plus motifs usually shown only in artifact photos elsewhere. The major weakness of this book is the lack of any text identifying or discussing the various images presented - it's purely a collection of designs, ranging in period from the earliest part of the Viking Age through the start of the more medieval Romanesque style art of the Scandinavian Middle Ages. Contains a lot of knotwork and "gripping beast" type motifs.
Buy this book today! - Meehan, Aidan. Celtic Design: The Dragon and the Griffin -- The Viking
Impact. Thames & Hudson. 1995.
The artwork of the Vikings and of the Celts share many similarities -- both cultures are Indo-European, and there was considerable intercourse between the two peoples via warfare, trade, and settlement. This book takes a close look at the stylistic differences between Celtic and Viking art, providing valuable insights into the fine details that make each culture's art unique. In general, Viking art is less formal and precise than similar Celtic works, and often shows a greater energy and originality. Includes illustrations that would be useful as designs for craftsmen.
Buy this book today! - Wilson, David M. and Ole Klindt-Jensen. Viking Art. 2nd
ed. London: George Allen & Unwin. 1980.
Not only includes a discussion of the art-history of the Vikings, but also includes 69 line drawings and 80 photographic plates showing details of Viking design. A must for any craftsman, from calligrapher to jeweler to leatherworker, etc.
Buy this book today!
Viking "Coffee Table" Books
There are a large number of "art" books, often referred to as "coffee-table books" containing high-quality, large, full-color photographs of Viking art and artifacts. These can provide an excellent resource and source of inspiration for artists and craftsmen of all disciplines.
- Graham-Campbell, James. The Viking. New Haven: Ticknor & Fields.
1980.
Buy this book today! - Graham-Campbell, James. The Viking World. New Haven: Ticknor & Fields.
1980.
Buy this book today! - Haywood, John. The Penguin Historical Atlas of the Vikings. London:
Penguin Books. 1995.
Buy this book today! - Roesdahl, Else, and Wilson, David M., eds. From Viking to Crusader: The
Scandinavians and Europe 800-1200. New York: Rizzoli. 1992.
A very extensive catalog of a huge exhibit of Viking artifacts. Very hard to find, but well worth it!
Buy this book today!
Viking Artifact Photos
- Åhlin, Christer.
"The Lily-Stones - Research Findings Shed
New Light on the History of Christianity." Viking Heritage
Magazine 3 (2002) p. 28. Accessed 12 December 2005
- Carlsson, Dan.
"Fleur-de-Lys-Like Belt Buckles."
Object Gallery: Belt Buckles.
Fröjel Discovery Programme Website.
Accessed 12 December 2005.
- Friis, Mogens.
Vikings and their Music. The Viking Network.
Accessed 7 October 2001. (Link dead as of 12/12/05. The page may still be accessed via the Wayback Machine).
- Holm Runestone, Halland. Arild Hauge Website.
Accessed 12 December 2005.
- Oseberg Cart. From the book
The Viking Ships in Oslo by Thorleif Sjøvold
(Oslo: Universitetets Oldsaksamling. 1985.)
Accessed 4 February 2004. (Link dead as of 12/12/05. The page may still be accessed via the Wayback Machine).
- Oseberg Cart Photos.
The Norseman Website. Accessed 12 December 2005.
- SHM 4098. Thórr's Hammer from Erikstorp, Ödeshög parish..
Statens Historiska Museum Photo Database. 2000.
Accessed 12 December 2005.
- SHM 4107. Silver Thórr's Hammer Pendant..
Statens Historiska Museum Photo Database. 2000.
Accessed 12 December 2005.
- SHM 5101. Bronze buckles from Broa, Halla parish.
Statens Historiska Museum Photo Database.
2000. Accessed 12 December 2005.
- SHM 5611. Ship Close-up from Tängelgårda Picture Stone,
Lärbro Parish. Statens Historiska Museum Photo Database.
2000. Accessed 12 December 2005.
- SHM 5612. Close-up of Tängelgårda Picture Stone,
Lärbro Parish. Statens Historiska Museum Photo Database.
2000. Accessed 12 December 2005.
- SHM 5615. Ship Close-up from Tjängvide Picture Stone,
Alskog Parish. Statens Historiska Museum Photo Database.
2000. Accessed 12 December 2005.
- SHM 5626. Picture stone from Havor, Hablingbo parish.
Statens Historiska Museum Photo Database. 2000.
Accessed 12 December 2005.
- SHM 5632. Ship from Lillbjärs Picture Stone, Stenkyrka Parish.
Statens Historiska Museum Photo Database.
2000. Accessed 12 December 2005.
- SHM 5635. Tjängvide Picture Stone,
Alskog Parish. Statens Historiska Museum Photo Database.
2000. Accessed 12 December 2005.
- SHM 5639. Tängelgårda Picture Stone, Lärbro Parish.
Statens Historiska Museum Photo Database. 2000.
Accessed 12 December 2005.
- SHM 5642. Lillbjärs Picture Stone, Stenkyrka Parish.
Statens Historiska Museum Photo Database. 2000.
Accessed 12 December 2005.
- SHM 6057. Silver buckle from Birka.
Statens Historiska Museum Photo Database.
2000. Accessed 12 December 2005.
- SHM 6964. Picture Stone from Götland.
Statens Historiska Museum Photo Database. 2000.
Accessed 12 December 2005.
- Viking Age Padlocks from Jorvik.
Find number 1976.7, 11758; catalogue number 3610. Length 86mm, width 84mm.
The Archaeology of York 17/6, Anglo-Scandinavian Ironwork from
16-22 Coppergate by Patrick Ottaway. Accessed 12 December 2005.
- York, 16-22 Coppergate Barrel Padlocks.
Ottaway, P. and Rogers, N.S.H., 2002. Craft and Industry, and
Everyday Life: Finds from Medieval York. The Archaeology of York 17/15.
Location and accession details: York Archaeological Trust 1976-81.7, 1.
sf1714, 2. sf2015, 3. sf4425, 4. sf4819. Accessed 12 December 2005.
