Abstract
Gilded, beautifully ornamented weathervanes adorned edifices of the highest status in early medieval Norway and Sweden. This thesis looks at four exemplars of this convention, from Heggen (c. 1000), Källunge (c. 1000), Söderala (c. 1030-1050), and Tingelstad (c. 1110-1160). Originally placed in the stems of longships, they eventually relocated to the spires of early medieval churches, where they continued to be displayed to the public until the 20th century. In the attempt to approach an understanding of the four weathervanes in their own time, the thesis discloses a medieval belief in their immanent powers, evoking awe, wonder, and installing fear in perceivers. This was due to the aesthetic experience of the artefacts from afar: the brilliant golden optics, acoustic aura, and animation. The spectacle captured the perceiver’s attention and triggered associations. It is argued that a significant function of the weathervanes was the capacity to avert evil forces from the area they protected. This, in turn, allowed them to persist in cultural memory and take part in a long-standing, evolving tradition of material culture. The tradition, and its significance to medieval people, is reflected in an array of visual and literary evidence analysed in this thesis. The underlying aim is to demonstrate the efficacy of the artefacts and their use and reuse in the early medieval period in Scandinavia.