possible Christian connotation. The keys are distributed over north-west Germany and
southern England and Scandinavia, and chronologically they fit in well with the pro-
gression of the mission. They have been interpreted as the keys of St Peter or the Keys to
Heaven. The strange thing is that in Bj 854 a Þórr’s hammer ring was also found, lying
by the skull of the deceased. This mix may be regarded as an example of syncretism.
Further artefacts are coins with Christian symbols, both foreign and native, and
pendants of rock crystal with connotations to baptismal symbolism.
ICONOGRAPHYFinally a few words on iconographical evidence of the Christianisation: the Jelling stone
in Denmark, the Dynna stone in Norway and the crucifixes display pictures of Christ.
Churches are depicted on two wall hangings, from Överhogdal, Härjedalen and from
Skog, Hälsingland (Franzén and Nockert 1992 ). They have been interpreted as showing
both pagan and Christian motifs. The weavings from Överhogdal (tenth century)
have recently even been regarded as a complete illustration of Ragnaro ̨k (Wikman
1996 ), but doubtless there are pictures of churches too. A common interpretation of the
Skog tapestry (thirteenth century), with the church and the bell-tower in the centre, is
that it is illustrating the conflict between Old Norse religion and Christianity. Three
giant beings at the left end of the tapestry have been interpreted as Óðinn, Þórr and
Freyr, threatening the church. However, today an interpretation of them as the three
Scandinavian royal saints, St Óláfr, St Knútr and St Erik is more accepted.
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–– chapter 46 ( 1 ): The material culture of the Christianisation––