Franks Casket: The Stomping Ground of Romano Germanic Gods

About 7 Deities, the 7 Days of the week, the 4 Seasons and the 12 Months of the year
Or: Another gear-wheel to an - as so far undetected - early medieval astronomic clockwork.
{Alfred Becker, Liþa 2015; To Stephen Pollington and the Elder Gods with respect and gratitude}

Because of just one picture with Christian background the Franks Casket has been regarded
an object of religious purpose, a reliquary or a portable altar, for example1. Strangely enough,
none of the runic inscriptions refers to Christian religion, in what way ever. Nevertheless,
more recent interpretations2 claim the carvings for an obscure biblical tradition, though –
apart from the picture of the child adoring Magi – there is no clue, neither in the runic text nor
in the pictures, for such an interpretation. As a matter of fact the Christian mission would
demonise pagan ideas and means while the old creed readily adopted anything that was
believed to be helpful, last but not least the bounteous Magi. Looking more closely at their
picture, even this single image with a biblical background, is only ostensibly Christian.
The neighbouring carving depicts Wayland / Völund, “lord of the elves”, as King Nidud /
Niðad refers to the mythical smith3. With him a scene from the pagan Germanic mythology is
presented here.
Romulus (Romwalus) and Remus (Reumwalus) on the left panel refer to Roman mythology,
though the scenery (Woden’s two wolves along with warriors adoring the twins in a sacred
grove) and even their names (wal, carnage, slaughter) have been adjusted to the martial pagan
purpose, i.e. help on the ride to war.
Titus conquering Jerusalem as rendered on the back of the chest is a topic from classic
Roman history, slightly adjusted to the carver’s intent by placing the beasts of the Æsir
beneath the arch. This Roman triumph is meant to provide victory and fame.
Herh-Os, a Deity or Valkyrie of the grove, bringing death over some chosen hero, is the topic
of the right panel.4 She will take her victim to Valhalla. There (on the lid) we meet an archer,
Ægili, defending the fortress against the giants, thus referring to the essence of pagan creed.
The intention of these two panels refers to death and afterlife. Actually, battlefield (right
panel) and Valhalla (lid) adjoin here.
This way the sequence of carvings procures an ideal course of heroic life and the hereafter.

Looking at the runic texts we detect a number of regularities, very much beyond mere chance.
So the contents of all these pictures correspond directly or indirectly with the meaning of the
first rune in the upper left corner, where it is the first letter in a name (e.g. Titus) or name-like
term (e.g. fisc). As there are two pictures on the front the second letter in alliteration is the

1
An Overview of the interpretation history up to 1970: Alfred Becker: Franks Casket. Zu den Bildern und
Inschriften des Runenkästchens von Auzon. (= Sprache und Literatur. Regensburger Arbeiten zur Anglistik und
Amerikanistik. Band 5). Carl, Regensburg 1973
2
Gabriele Cocco, The Bowman who takes the lid off the Franks Casket (2009 CUEC Editrice); Marijane
Osborn, "The Seventy-Two Gentiles and the Theme of the Franks Casket." Neuphilologische Mitteilungen:
Bulletin de la Societe Neophilologique/ Bulletin of the Modern Language Society 92, 281-288, and “The Lid as
Conclusion of the Syncretic Theme of the Franks Casket“, in A. Bammesberger (ed.): Old English Runes and
their Continental Background, Heidelberg 1991, pp. 603-628; L. Webster, "The Iconographic Programme of the
Franks Casket," in J. Hawkes & S. Mills (ed.) Northumbria’s Golden Age (1999), pp. 227 – 246
3
Völundarkviða (32) “Seg þú mér þat, Völundr, vísi alfa, …” Edition von Guðni Jónsson; translated as “lord of
the elves”, by Auden, Taylor
3
Wolfgang Krause: Erta, ein anglischer Gott. In: Die Sprache. 5. Festschrift Wilhelm Havers, 1959, S. 46–54.
4
For more background see Alfred Becker: Franks Casket Revisited. In: Asterisk. A Quarterly Journal of
Historical English Studies. 12/2, 2003, S. 83–128; http://www.franks-casket.de/english/right02.html

1
initial of the kenning gasric; and as the lid only knows the titulus Ægili, this initial serves the
same purpose.
The total value of these 6 runes f g r t s A (F G R T S Æ) results in 72 (9x8 or 3x24) a score
frequently observed on the casket and elsewhere.
These functional runes follow a 9-rune formula on the left border of three panels (front, left,
and back); on the remaining panel (right) the 9-rune formula is placed on the right edge,
where it precedes a well-wishing set of runes. The numeric values of these formulas aim at the
multiple of 11. Elsewhere runes and values follow the significant number 24 (number of runes
in the fuþark, total value 300) and its multiple, 72 in particular. Eventually the overall
numbers and values form a solar and a lunar calendar system, balanced by a Metonic cycle
hidden in the Latin text on the back panel.5

To sum it all up, the chest is likely to have been the hoard box of some Anglo-Saxon king, the
pagan Penda of Mercia († 655) or Edwin of Northumbria († 633), maybe, who grew up as a
pagan and eventually gave in to his wife and, possibly, to papal urging along with political
considerations. He may have kept the casket on his lap when banqueting in the hall,
honouring his warriors with golden trinkets out of it. Feohgifu (f g), as he might have said.

It may seem surprising that the pagan nature of the casket had not become apparent. Christian
zealots often destroyed the meagre written tradition or – at best – adjusted it to their own
religious views as they did with the “Runic Poem”, where among others the name os (god) for
the o-rune o was replaced by the Latin meaning of os, “mouth”, while the god Tiw behind t
was replaced by Tir, "glory". Only the Icelandic tradition saved some of its heritage from
purgatory, and had it written down in Christian scriptoriums of the 13th century. Thus there is
a gap of 500 years between our magic box and those sources.

The other approach leads back to Roman tradition where – according to the Interpretatio
Romana – the northern gods went by the names of their Roman counterparts. As for Sol and
Luna this does not cause a problem, but if the gods were defined by their attributes
identification may become uncertain. With a time gap of 700 years back to Roman days and
500 years up to Iceland’s scribes we have 1200 years of uncertain tradition, which makes a
synopsis intricate.

The two antique sources we refer to are the notes by Julius Caesar and – a bit more detailed –
by Tacitus. Caesar 6 writes: “The Germans … rank in the number of the gods those alone
whom they behold, and by whose instrumentality they are obviously benefited, namely, Sol,
Vulcanus and Luna. They have not heard of the other deities even by report.” It is unlikely,
though, that Caesar should not have heard of any other Germanic Gods.
About one hundred years later, Tacitus7 refers to another trinity in which “Mercury is the
most venerated God, who at certain times even receives human sacrifice while Hercules and
Mars are consoled with a sacrificial animal.” In this constellation Mercury stands for Woden /
Odin while Hercules typifies Þunor / Thor and, finally, Mars epitomises Tiw / Tyr. Tacitus
does not mention Freyr, who rules over sunshine, rain and plant-life and who along with his
golden boar Gullinborsti is seen as sun-god.8

5
Alfred Becker: A Magic Spell „powered by“ a Lunisolar Calendar. In: Asterisk. A Quarterly Journal of
Historical English Studies. 15, 2006, S. 55–73.
6
De Bello Gallico: Liber VI - Kapitel XXI: „Deorum numero eos solos ducunt, quos cernunt et quorum aperte
opibus iuvantur, Solem et Vulcanum et Lunam, reliquos ne fama quidem acceperunt.“
7
De origine et Situ Germanorum liber 9,1: “Deorum maxime Mercurium colunt, cui certis diebus humanis
quoque hostiis litare fas habent. Herculem ac Martem concessis animalibus placant.”
8
Vollmer, Wörterbuch der Mythologie (1874), Freir.

2
If the runic casket is inspired by pagan views we should be able to detect traces of the one or
the other trinity, if not of both of them. For this approach we relate to the front panel first and
then we continue the research around the chest in a clockwise direction.9

The Front Panel (F – G): Sol, Luna and Vulcanus

© Trustees of the British Museum

As we have already shown10 the picture of the Magi is a pagan adoption of a Christian motif.
Most striking is the bird instead of the guiding (or guarding) angel. If pagan it is the child’s
Fylgja, who appears to living people in her bird shape. The rosette would stand for the star of
Bethlehem, but with its 13 rays it rather refers to a lunar calendar (13 m. x 28 d. = 364 d/y.)
The third of the Magi, finally – he who brings myrrh, which is used for embalming dead
bodies – is distinguished by a valknut, Woden’s hallmark of death.11 Of similar significance
is the eoh-rune O (number 13 in the runic row) standing for the poisonous yew tree. It may be
understood as a symbol of the endless cycle of life, death and resurrection, of waxing and
waning. Several such seemingly ornamental marks are filled into this picture, among others
13 dot-marks filling the lower part of the throne, which may reflect 13 lunar months.12
Wherever else on the casket it appears (Right and Lid) it is used in the same context.

Different from all other presentations of this topic (Magi) is the group
of mother and child. Instead of the Virgin sitting on a throne, holding
the child on her lap and he greeting the visitors, there are only their
disc-like faces, marked by halos – that of the child cross-shaped. This
presentation is similar to that of Sol Invictus ("Unconquered Sun"),
who was the official Sun-god of the later Roman Empire and a patron
of soldiers.13

This idea may have been inspired by the cult of Mithras, who also went by this title, a title
which was soon adopted by the new Christian religion along with the Dies Natalis Solis

9
A very good introduction into the pagan Anglo-Saxon world offers Stephen Pollington, The Elder Gods: The
Otherworld of Early England (2011)
10
Alfred Becker: The Virgin and the Vamp. In: Asterisk. A Quarterly Journal of Historical English Studies. 12/4,
2003, S. 201–209. Same: http://www.academia.edu/10797187/Franks_Casket_The_Virgin_and_the_Vamp
11
Alby Stone, "The Knots of Death", http://www.franks-casket.de/english/guest03.html
12
This interpretation is supported by the reading of the Lid (below)
13
Stephen Pollington, The Elder Gods, The Otherworld of Early England (2011) p. 401

3
Invicti, the 25th of December, i.e. the birthday of the “Invincible Sun”. Thus Sunday is
observed as a day of worship and rest, holding it as the Lord's Day, the day of Christ's
resurrection. Along with this the Virgin was identified with Luna, who mirrors her faith in
Christ like the moon reflects sunshine.

Many pictures show her with the crescent of the moon under her feet.
Finally Pope Innocent III (around 1200) allowed the association of Mary
and Moon: "Anybody buried in the shade of sin should look up to the
moon. After having lost the grace of God, there will be no day, no sun to
shine on him, but there is still the moon above the horizon. Let her talk
to Mary under whose guidance many find the right way to God."

Sun and Moon along with Earth Mother (mother and child) will have played a mayor part in
early pagan creed; anyway, due to lack of written tradition our knowledge is poor. Referring
to our picture we may say that Christ’s face stands for Sol, while the face of Mary symbolizes
Luna. As such they are venerated by the Magi, who will have been seen by Mathew as priests
of Mitra.

Now, as with Sol and Luna we have detected two of the three gods Caesar mentions we need
to look for Vulcanus, the god of fire and smithery. And here the picture of Wayland comes
in. He is a skilful smith, just like his Roman counterpart, and like him he limps, though for
different reason. Wayland originally (Völundarkviða) belonged to the elfish sphere of lower
mythology14. Nevertheless, his saga is not clearly based on a Roman or Greek archetype, but
the maltreatment of children may be the common denominator as discussed below.

With Sol / Christ and Luna / Mary, venerated by the Magi, and Vulcanus / Wayland at his
anvil, the carver has rendered the trinity Caesar mentions in his “De Bello Gallico”. This may
answer the frequently discussed question why the carver has placed two such contradictory
motifs, the “Adoration of Christ” and “Wayland’s Revenge”, side by side. As we have seen he
had more than one reason for his choice:

1. With the goldsmith forging valuables (feoh, wealth) there is a motif to go with the rune f.
And with the Magi bringing presents (gifu, gift) we have got the motif for the rune g.
On the one hand these runes, supported by their number and value, help the incantation
expressed by the motifs, on the other hand feoh and gifu describe the content of the royal
chest as feohgift, meaning ‘bounty’, to be handed out with ‘largesse’ by the chief, sitting on
his giefstol in the hall.

2. The motif of the new born King serves very well as a family background for the royal
owner of the chest. The inclination to derive one’s pedigree from the Æsir changed over to
Christ and the Holy Family. The Fylgja, depicted here in her bird-nature, links this motif with
that of Wayland, where she proves her protective powers by helping her protégé to win over
his oppressor.

3. Elevating this chosen assembly into the rank of the trinity Sun, Moon and Fire (or as
Caesars interprets: Sol, Luna and Vulcanus) increases the power of the charms and establishes
a new quality in the context of the remaining panels and lid as shown below.

The Left Panel ( R ): Hercules

14
W. Golther, Handbuch der Germanischen Mythologie, S. 122 ff
Alfred Becker: Franks Casket. Zu den Bildern und Inschriften des Runenkästchens von Auzon, p. 164 f

4
© Trustees of the British Museum

The picture of the Roman twins differs from all the others we
know.15 Either the twins are depicted all alone with the she-wolf or
– rather seldom in the ancient world – their retrieval by the shepherd
is rendered, but there is no piece known that would show them
adored by a gang of armed warriors somewhere in a grove. The
roots there seem to function as “tree runes” foretelling the fortune of
the warriors and the fate the twins bring about. Ancient pictures
would place the baby-brothers under the she-wolf where they are
fed, but none would show them as youngsters. Moreover, we have Faustulus finding the twins
Woden’s two wolves instead of just the lone lupa.

These attributes prove our carving to be an Interpretatio Germanica of the traditional Roman
motif. By changing their names to Romwalus and Reumwalus they adopt the same martial
nature as the valkyrie, the chooser of those heroes who have to die at war and those who may
live. Anyway, it would have been closer to home if the rune master had picked other war
helping twin brothers like the legendary Hengist and Horsa, but their names begin with h, a
rune auguring ill fate. The initials of the Roman twins, however, provide the proper rune, as
according to the “Runic Poem” r means rad, NE “ride”, be it on horseback or on a cart, as in
OE. Þunorrad (thunderclap), which refers to Thunor’s / Thor’s thundering ride in his armed
chariot through the clouds.16
Another object, the Lolland Runic Thor's Hammer17,
also indicates that the rune r is associated with Thor as
the inscription violates simple orthography by
omitting and filling in signs in order to push the rune r
into the centre of the hammer head along with the
proper runic value. The owner may have hoped to Danish National Museum
increase the power of his pendant by connecting the
flash of Thor’s hammer with the thunder of his rune.

15
See http://www.franks-casket.de/english/left02.html
16
Pollington, Elder Gods, p. 199-203, Þunor
17
Becker, “Mjölnir: The Købelev Runic Thor's Hammer” http://www.franks-asket.de/english/appendix11.html

5
The text, framing the picture ends (bottom left corner) with 3
dot-marks. As we ascribe numeric value to such marks they
may refer to the third rune of the fuþorc, according to the “Runic
Poem” ðorn (NE. thorn), which is quite likely the substitute for
the pagan Þunor (Donar, Thor). This way the spell (text) based
on r is framed by the introductory 9-rune formula18 oþlæ unneg
and the final invocation of Þunor/Thor, the god “in charge”. He
is the counterpart of Hercules in Tacitus’ trinity. And Hercules,
again, is sometimes regarded to be their father.

The Back (T): Mars

© Trustees of the British Museum

The picture of Titus conquering Jerusalem is without any direct antique parallels though the
arrangement on two horizontal levels vertically divided by an arch could be adopted from
some ancient sarcophagus. The upper level shows the Roman victory and the escape of the
Jews. The lower section, left, presents a court scene titled doom, while the right section
renders the decampment of hostages, as the word gisl tells us.

So far the picture seems to follow a Roman pattern;

only the three pairs of animals, horses (?), wolves (?)
and raven (?) may be understood as the companions of
the Germanic gods. The bird heads, linked by a
valknut19, point to Woden / Odin; the horses might
belong to Tiw / Tyr; the creatures between top and
bottom would then go with Thor, though nothing would
give them away as goats. Else, they simply are beasts of
battle.20
Apart from the animals and three interlaced knots there is a plant-like symbol on top of the
arch, looking very much like the icon z of the Valkyrie (Front, Wayland). Her hallmark (much

18
The 27 runes forming 3 nine-rune formulas produce the total value 330, while the 9-rune formula on the right
hand panel renders the value 110. It looks as if the number 11 has been observed here.
19
See above, Alby Stone, "The Knots of Death"
20
Stephen Pollington, The English Warrior (1996), Beasts of Battle, pp 47 – 53.

6
like a bird’s footprints) helps, at least, to guess the realm to which these creatures belong.
Intended or not, there are 24 horizontal segments dividing construction of the arch.

Here again we find a 9-rune formula, her/fegtaþ, on the left edge, followed on the upper edge
by the rune t, the first letter forming the name Titus. The name of the rune is Tir, which hints
at the old god Tiw / Tyr, who stood for heroic glory and justice. And quite precisely, this is
what the panel is about.
Glory by victory and justice is the highest aim in the life of our royal hero, gifts granted by
Tiw / Tyr, who corresponds with the Roman god of war and the father-god of Rome, Mars.

Note: With the phrase HiCFUGiANTHiERUSSALiM the rune-master uses the language
(Latin) and letters (majuscules), normally reserved for clerical purposes, for a trivial and
fragmented comment. This shows that he had the means to deliver a religious message – if he
had intended such – in the proper way. As to here, he used letters and language to create a
Metonic cycle.

The Right Panel (H – S): Mercurius

Photo courtesy Bargello Museum, Florence

The picture as a whole is without any parallel, neither in classical art nor in domestic pagan
tradition. It is structured in three emblematic (i.e. non-dramatic) scenes, which correspond to
the three staff rhyme verses of the runic text on this panel. Their background is altogether
pagan. The text itself is kept cryptographic, replacing the vowels by marks similar to runes, so
that the ill fate, death, may not come about before due time.

Left: Herh-Os seems to be the name of the creature sitting here on

a mound (harmberg), a Valkyrie most likely.21 Herh (hearg)
means the pagan holy grove; Os identifies the creature dwelling
there as a deity.
The shape of her head may be that of a cow elk, a species (elk)
that is reflected in the rune z elk sedge (O.E. eolhx), which seems
to typify Valkyries and their bellicose power.22 The snake head (if

21
Following W. Krause, „Erta, ein anglischer Gott“, Die Sprache 5 (1959); others separate „Her Hos …“,
interpreting Hos as a misspelled Horsa.
22
eolh sedge …makes a ghastly wound, covering with blood every warrior who touches it. (Runic Poem)

7
 it is one) stands for her deadly duty, choosing the heroes for
Valhalla.23
The wings refer to the bird-shape she can adopt anytime and the skirt is part of her human
appearance. Also her anatomy (joints), when sitting, is that of a human being.24
The twig in her hands may be a lot-twig telling the hero’s fate. The titulus risci seems to
comment on it, though, more likely, it has to be understood in context with the other two tituli.

Centre: The victim lies in his grave; the 11 fillers inside may refer to
the I-rune i (is, ice) which is synonymous with “death”. There his Lärbro Tängelgårda
Valkyrie, now in her human shape, comes to him, in order to restore
him with a revitalizing drink (alu25, maybe) from the chalice. She
holds a rod which – ending in the rune t in bita – turns into a spear.
The horse, marked by two valknutr (Woden/Odin’s symbol) will
carry the hero to Valhalla, the hall of the slain. This scene reminds
us of the Scandinavian standing stones like Lärbro Tängelgårda,
which show the triumphant arrival of the warriors and their welcome
by the Einherjers at Odin’s place in Asgard.

Right: Two people, wearing cloaks, their

heads covered with hoods, seem to have
grabbed a (here mouthless) third one, a
constellation we know from other objects like
the Sutton Hoo purse. Maybe, these
mysterious beings are trying to pull the victim
to the one or other side. If opposing forces,
the symbols behind their hoods could tell.

Actually, both of them have shown up before, the cross-mark (left) preceding the name Titus
may be meant to conjure strength and victory, while the “yew-rune mark” (O) stands for death
and rebirth, here rather resurrection into Valhalla.

Quite obviously the three inserted words (risci, wudu, bita) are not supposed to comment the
scene. The explanation for all this can be found in Northern mythology: A hurled twig turns
into a spear and kills the victim. Baldur was killed by a mistletoe wand which turned into a
missile. We find a similar event in the “Gautrekssaga”, where a mock sacrifice was put up:
"Then Starkathr thrust at the king with the wand and said: 'Now I give thee to Othinn.' Then
Starkathr let go the fir bough. The wand became a spear and pierced through the king...."
Here it could be Herh-Os, who flings the fatal rush (risci) at him. It changes into a spear
(kenning: wudu) and this weapon bites (Kenning: bita) her chosen warrior. And if we interpret
the twig behind the horse as a twig rune we arrive at the 3rd ætt, first rune (3/1), and that is t.

In order to get from one site to the next Herh-Os changes into a bird and flies from her
“mound of harm” to the battle-field. Now she is standing at the grave, the spear that she had
flung as a twig firmly in her hand, the shaft ending in a spearhead formed by the rune t. There

23
Pollington, Elder Gods, p. 69, 181 links the snake with the shaman’s way into Underworld, while quadrupeds
(horse or elk) protect his soul.
24
There is nothing horse like about her, just as hos is not hors. This would speak against the “Rhiannon” theory
as suggested by Heiner Eichner, Zu Franks Casket/Rune Auzon, in Alfred Bammesberger, ed., Old English
Runes and their Continental Background (Altenglische Forschngen 217). Heidelberg, 1991, pp. 603–628.
25
The magic formula “alu” means ale or beer. The number of runes is 3. Their value (4+21+2) is 27, which is
3 x 3 x 3. Whether or not intended, each rune represents a positive power (ansuz, laukr, ur).

8
she – now in her human shape – revives her latest victim with a drink from the chalice. She
will take the hero from Midgard to Asgard, to Valhalla, to be precise.

All these episodes point into the direction of Woden / Odin. Herh-Os would have acted at his
will bringing harm (h, hagal, hail) about that warrior, and at his will the fighter is chosen for
life under the Sun (s) in Valhalla. Actually, s is the dominating rune of this panel, as h (hagal,
hail) – unpreceded by any charms – only brings death (I-rune i = is, ice) about.
But if we now have a closer look at the 6 cryptographic
I-runes we find that the marks used as their substitutes
actually are S-runes in shapes the Elder Fuþark had
used centuries before. Thus the symbol of death (ice)
turns into an emblem of life (sun) in Woden’s Valhalla,
this way illustrating the double nature of the god Wikipedia, Sowilo
himself.

The first stanza with its h alliteration signals harm, but in the second stanza a and e, alliterate,
which effects the turn around. Then, anyway, the 9-rune formula drigiþ swa precedes the final
third verse where s (sigel, Sun) alliterates. Woden’s bright realm in Asgard, has won over Hel,
the sphere of the shadows; another image for resurrection from death. Following Simrock26
and others Odin’s pawned eye stands for the Sun. If so, the rune s also hints at Woden / Odin,
just as the entire panel refers to him.
Following Tacitus’ Interpretatio Romana Woden is the Germanic counterpart of Mercurius,
who among other virtues was venerated for his protective power at averting harm.

The Four Panels:

As we have seen the sequence of motifs follows very consequently a certain pattern:
The Front Panel renders with Christ and Mary side by side with Wayland the trinity Caesar
knows as Sol, Luna and Vulcanus, god of fire and smithy. The scene relates to Modraniht. The
topic may be described as “[Death and] Birth”.
The Left Panel shows Roman twins (sons of Mars or Hercules[!]) in their boyhood, thus at an
early stage in life. Romulus, at the end of his life, ascended to replace the Roman god
Quirinus. The alliteration on R (r as thematic rune) connects this scene with Þunor/Thor and
his Roman counterpart Hercules. The topic may be described as “Youth”.
The Back Panel describes the victory (70 AD) of Titus over the Jerusalem. The later Roman
Emperor was eventually deified by the Roman Senate. The initial rune T (t as thematic rune)
connects this scene with Tiw/Tyr and his Roman counterpart, the god of warfare, Mars. The
topic may be described as “Prime of Life”.
The Right Panel illustrates the heroic death of a warrior brought about by Woden’s Valkyrie.
With his resurrection into location of afterlife, Valhalla, death turns into heroic life among the
Einherjer. As illustrated by the initial runes h and s which indirectly refer to Woden/Odin, god
of the chosen warriors, the topic may be described as “Death [and Rebirth]”.

In short, the two trinities Caesar and Tacitus report must have been known in Anglo-Saxon
days, as they seem to form the background of Franks Casket’s pagan scenery. We may just
wonder how the lid fits into this pantheon, and: whether or not Freyr was known and
venerated in the context of these trinities.

26
Karl Simrock, Handbuch der Deutschen Mythologie, S. 210 – 214

9
The Lid (Æ): Asgard

© Trustees of the British Museum

Only the middle-segment of the Lid has survived. Anyway, it is very likely that the missing
fragments had been covered with silver fittings which did not continue the central scene, nor
did the Lid bear a text on its edges.
This image does not follow any classical pattern either, as it renders pagan Germanic views.27
The sequence of panels describes a biography from birth over ride to war on to victory and,
eventually, to a heroic death, which qualifies for Valhalla. Thus it does not need much
speculation to identify that place right here as Valhalla, Woden’s site at the days of
Ragnarök.28 Bands of warriors – two of them rather giants – move toward the fortification on
the right, a few others, budging into the opposite direction, seem to combat them. They all are
in trouble.

Asgard
Right of the round segment, which once must
have worn a meaningful element (not just a
knob), there is a fortified enclosure with a gate,
- not a house with a window as often
maintained, – rather a horizontal projection.29
The elements attached to the wall are
battlements and can be read as symbols of the
540 gates of Valhalla. The archer in the door is
named Ægil(i). The initial rune A (æsc) refers
to the ash-tree and symbolizes “defence”30.
Apart from that, in Norse mythology Yggdrasil
is an immense ash in connection to which the Wikimedia, Swedish Image Stone Ardre VIII
nine worlds exist, with Asgard, realm of the
Æsir, in its top.31

27
As to details see http://www.franks-casket.de/english/lid01.html
28
Already some early interpretations [Worsaae (um 1900), J. Sephton (1896), E. Schultz (1941)] explain this
picture as Ragnarök, with the Fire Giants fighting the gods. They also refer to the three valknutr (triquetra) here.
See. Alfred Becker: Franks Casket (Regensburg, 1973), S.86 f.
29
The Swedish image stone Ardre VIII shows Wayland’s smithy in this projection
30
Runic Poem: Æsc biþ oferheah, eldum dyre, stiþ on staþule, stede rihte hylt, ðeah him feohtan on firas
monige.
The ash-tree is exceedingly high and precious to men. With its sturdy trunk it offers a stubborn resistance,
though attacked by many a man.
31
More on this, see Pollington, Elder Gods, p. 210-211 „Æsc“

10
According to this view the arch is Odin’s throne, Hlidskialf, and the double headed animals
would stand for his ravens and wolves. From his throne in Valhalla Odin can overlook and
overhear all the nine worlds, which constitute the Germanic cosmology. The casket-lid, the top
of it all, would be the most appropriate spot for that, be it Heaven or be it Asgard. Whether or
not he is the person depicted on the throne remains unanswered.

Actually, in Skírnismál, it is Freyr who sits in Hliðskjálf when he looks into Jötunheimr and
sees the beautiful giant maiden Gerðr, with whom he instantly falls in love. He asks Skírnir,
his servant, to go to Jötunheimr to woo Gerðr for him. Freyr gives Skirnir a steed and his
magical sword which fights on its own "if wise be he who wields it". Eventually, Gerðr
becomes his wife. This is the casus belli for the giants. Although deprived of his weapon,
Freyr defeats the jötunn Beli with an antler. However, lacking his sword, Freyr gets killed by
the fire jötunn Surtr during the events of Ragnarök.32

If we comprehend nakedness as a kenning for being unarmed we may detect Freyr in one of
the two warriors above and below the disc which once may have held the golden emblem of
the sun. Since Freyr was seen as the Lord of the Sun33 this closeness would suit his nature as
the Sun is the main object of attack at Ragnarök and will eventually be devoured by the wolf
Fenrir (or Skalli), just like Odin himself. The battle depicted here could very well show the
fight over the Sun himself. The other bare person – if scenic - may be Freyr’s servant Skirnir,
who according to his position would not be better equipped than his master. If emblematic,
Freyr could stand for each one in this circuit. Due to the lack of perspective and room these
two warriors are (or just Freyr is) not lying on the ground, - not dead at all. As there is a
remarkable difference in body height the bigger one may represent Freyr, the Lord,34 else it
might be the same person at a different state.

The Seasons
From Asgard, the top of Yggdrasil, Freyr rules over the trinity of Sun (Sol), Moon (Luna), and
Fire (Vulcanus) as depicted on the front panel, represented there by Christ, Mary and Wayland
and simultaneously over the more familiar Germanic trinity of Thunor/Thor, Tiw/Tyr, and
Woden/Odin, who correspond to the trinity of Hercules Mars and Mercury in Tacitus’ Roman
interpretation.
Considering the – originally – close relation of deities and vegetation we may comprehend the
sequence of these panels (front, left, back, right) as the successive chain of the seasons:
Winter (winter,), spring (lencten), summer (sumor) and autumn (hærfest).
Interpreting them in this clockwise rotation we understand Caesar’s trinity (Front) as
Midwinter introducing the New Year with the Birth of the Sun (geol). In this context Christ
as Sol Invictus may be understood as turning point, as the link between Death and Rebirth. At
the same time the god of vegetation rules and keeps watch over the three seasons (spring,
summer and winter), which according to Tacitus, fill the year of the Germans. Anyway, at the
days of our hoard box autumn was known as hærfest. Beda Venerabilis35 ascribes 3 months to

32
Text fragments adopted from Wikipedia
33
J. Hoops, Reallexikon der germanischen Altertumskunde, Band 29, p. 3
34
Wikipedia: Freyr or Frey is one of the most important gods of Norse religion. The name is conjectured to
derive from the Proto-Norse *frawjaz, "lord". Freyr was associated with sacral kingship, virility and prosperity,
with sunshine and fair weather…
35
Beda Venerabilis, De Temporum Ratione, 15, 3: Et ipsam noctem nunc nobis sacrosanctam, tunc gentili
vocabulo Modranicht, id est, matrum noctem, appellabant, ob causam, ut suspicamur, ceremoniarum quas in ea
pervigiles agebant. Et quotiescunque communis esset annus, ternos menses lunares singulis anni temporibus
dabant. Cum vero embolismus, hoc est, XIII mensium lunarium annus occurreret, superfluum mensem aestati
apponebant, ita ut tunc tres menses simul Lida nomine vocarentur, et ob id annus ille Thri-lidi cognominabatur,

11
each season, though “commonly only winter and summer were distinguished by the length of
their days.” This would explain why there the said 3 Germanic gods stand for 3 seasons with
Woden now connected to autumn, while the newcomers, Christ in particular, from then on fill
in for the “depth of winter”, as nothing would fit better to Midwinter and Mōdraniht than the
picture of Mother and Child along with the Magi.
On the left panel, dominated by Thunor, the Roman baby-brothers, fed by the wolf, would
symbolize Spring, whereas the back panel, ruled by Tiw, depicts with Titus’ victory over the
Jews manhood in its prime and thus stands for Summer. The right panel, dominated by
Woden and his Einherjer-collecting Valkyries, stands for Hærfest, Autumn, as we now say.

Panel Deity Æsir Altitude of the Sun Interpretation Season

Front Sol solstice Geol [death and] Birth of Sun winter
Left Hercules Þunor equinox Eostre Ascent of the Sun liÞa lencten
Back Mars Tiw solstice Liþa Decline of the Sun sumor
Right Mercury Woden equinox Haligmonað Death [and birth] of Sun hærfest

The days of the Week

At a second glance we realize that the days of the week are represented along with these gods
from the above trinities: Sun, Moon, Tiw, Woden and Thor. If so, Frigg and Saturn still need
to be identified. Saturday (Sæternesdæg)36 is of Roman origin as it refers to Saturnus, god of
agriculture and vegetation. Wayland, who stands for the Roman god Vulcanus, seems to fill in
for him.
With Vulcanus in mind we think of “fire” as the link between both of them, but there is no
real evidence for Saturn as a fire-deity. He was seen as a god of generation, dissolution,
farming, periodic renewal and freedom, - and of plenty and wealth, which is on Wayland’s
line. Later traits of the Greek god Kronos were ascribed to him. Kronos learned that he was
destined to be overcome by his own sons, just as he had overthrown his father Uranus. Thus
he swallowed all his children as soon as they had been born. This maltreatment of children
along with plenty and wealth may be the common denominator. Wayland kills Niðud’s sons,
when they visit him in secret and fashions goblets from their skulls of which their parents
drink. This actually means they imbibe – much like Kronos – their own offspring. Apart from
that Saturn / Kronos is said to show features of the Phoenician Moloch37 to whom parents
sacrificed their children by fire.38 If we now ascribe Saturday to the picture of Wayland we
have matched three successive days of the week with the trinity represented on the front panel
while the remaining days are rendered on the sides of the casket by the other trinity,
composed of the Æsir hiding behind the thematic runes.
Friday (Frigedæg) refers to Frigg, the most prominent female member of the Æsir and spouse
of the chief god, Woden / Odin. She is the Germanic counterpart of Venus, after who most

habens IV menses aestatis, ternos ut semper temporum caeterorum. Item principaliter annum totum in duo
tempora, hyemis, videlicet, et aestatis dispartiebant, sex illos menses quibus longiores noctibus dies sunt aestati
tribuendo, sex reliquos hyemi.
36
It seems strange that there should not have been a Germanic name for this day; but as the afternoon of the day
preceding, a “Haligdæg” like Sunday, was seen as the eve belonging to the following [holy]day (comp. Engl.
Christmas eve) the term may have been sunnanæfen (comp. Germ. Sonnabend).
37
Vollmer, Wörterbuch der Mythologie aller Völker (1874), Saturnus oder Kronos.
38
Cleitarchus, Diodorus Siculus and Plutarch all mention burning of children as an offering to Cronus or Saturn,
that is to Ba‘al Hammon, the chief god of Carthage. Issues and practices relating to Moloch and child sacrifice
may also have been exaggerated for effect. After the Romans defeated Carthage and totally destroyed the city,
they engaged in post-war propaganda to make their arch-enemies seem cruel and less civilized.[Wikipedia,
Moloch]

12
Romance languages name this day. And she is the mother of Baldur39, who in Norse
mythology is seen as the god of light, spring, and justice, as it is said in the Prose Edda: “He
is best, and all praise him; he is so fair of feature, and so bright, that light shines from him”.
(Gylfaginning) His death, accidentally brought about by his brother Höðr, is both, a great
tragedy to the Æsir and a harbinger of Ragnarök. If originally a vegetation god rather than one
of the Æsir he dies in order to be reborn. This way he could be identified with the Sun, thus
somehow an Interpretatio Germanica of Sol Invictus, as ascribed to Christ by the Magi-
picture. Frigg, the powerful Mother-Goddess, the ‘lady’, the ‘dear one’, may compare to
Mary, - also in so far as both of them count among the few females playing a leading part in
pagan or Christian context. Likewise, her name is the only female person's name that brands a
weekday, Friday.

Panel Person Deity OE Weekday NE Weekday

Front (left) Wayland Vulcanus > Saturn Sæternesdæg Saturday
Front (right) Christ Sol > Sunne Sunnandæg Sunday
Front (right) Mary Luna > Mona Monandæg Monday
Back Titus Mars > Tiw Tiwesdæg Tuesday
Right [Woden’s Valkyrie] Mercury > Woden Wodnesdæg Wednesday
Left Romulus, Remus Hercules > Þunor Ðunresdæg Thursday
Lid Æsir [Venus] > Frigg40 Frigedæg Friday

The months of the Solar Year

Having identified the four seasons and the days of the week we may now wonder whether or
not there is a reference to the 12 months of the year. As we have seen above, the rosette on the
picture of the Magi alludes with its 13 rays to a lunar year.41 Here now, the missing sun disk,
if there was one, may have shown 12 rays, though this alone would require too much
speculation. But as it is, there are 12 “dot-marks”, 5 along with Ægil, 3, respectively 2 with
the bare defenders and two more between the feet of the giant with helmet and spear. If we
regard these dots as numeric substitutes for runes we arrive at the 12th rune of the
fuþark/fuþorc, Y (ger, year), which is most appropriate in this solar context.

If we now equate runes (or rather their numeric substitutes) with months we
may begin with the marks between the giant’s feet. The rune-like symbol O
(yew rune) indicates the cycle of life, death and resurrection, of waxing and
waning.42 Along with those dot-marks it may separate the last month of the
old year from the first month of the following one.
Consequently these dot marks would stand for Ærra Geola (the earlier Yule month, i.e. the
last month of the old year) and Æfterra Geola (the later Yule month, i.e. the first month of
the New Year) with Midwinter in-between, developing the pattern of the “dying-and-rising
god”-myths. As a season (December, January) this is winter.

39
Pollington, Elder Gods, p.213-219
40
She is Woden’s wife, mother of Baldur and numerous other deities. Asgard (Lid) is her place. According to R.
Simek, Götter und Kultur der Germanen (München 2004) p. 80, she is often identified with Freyja, Freyr’s sister;
these deities may originally have been one and the same.
41
13 months of 28 days make a year of 364 days. In this context we may note that the 13th rune counted from the
end of the futhark is Y, (ger, year), vice versa number 12, counted from the beginning. This fact seems to
indicate a calendar function of the fuþark.
42
There are 6 such symbols (O)in the Magi-picture, 3 with the visitors and 3 with Mary and Jesus. As the topic
is “Sol Invictus” the runic sign serves the same purpose.

13
According to the position the four protagonists the bare warrior below the disk is next. The
two dot marks in front of him stand for Solmonað and Hreþmonað, which take us to spring
equinox. As a season (February, March) this is spring.
The 4th and 5th months, Eostremonað and Ðrimilcemonað, are allocated to Ægil. They lead up
to the period of the Summer Solstice, known as Liþa. As before with Geol, we distinguish
between Ærre and Æfterra Liþa (6th and 7th month). It seems likely that the dot-mark between
the archer’s feet indicates the solstice just as it is with the marks with the giant opposing him.
Speculating along this line, the earlier months are rendered by the marks behind his back, the
two months following solstice are filled into his bow. The 8th month, Weodmonað, is the last
one tied to Ægil. As a season (April till August) this is summer.
The autumn equinox comes with the 9th month, Haligmonað, which is assigned to the bare
warrior above the disc, just as Winterfylleð and Blotmonað, the 10th and 11th month. As a
season (September, October, November) this is autumn.

The cycle ends with the 12th month, which is part of Geol, and therefore belongs to realm of
the giant. Along with the first month of the New Year (opening with Mōdraniht), this geol-
couple symbolizes Death and Rebirth. Quite obviously now, this scene illustrates the
traditions around “Dies Natalis Solis Invicti” (Birthday of the Unconquered Sun).
Consequently the first month of the following season (~ spring) is Solmonað, thus referring to
the rising Sun rather than to the “cakes” Bede mentions. The next season (~ summer) opens
with Eostremonað, named after a deity “probably cognate with the Roman goddess name
Aurora ‘dawn’ … The OE Eostre would derive from *aus-tero- ‘east, dawn, rising sun’ …”43
The third season (~ autumn) opens with Haligmonað, Holy month, a name more generally
pointing into the religious sphere, while Blot-monað (though named after the practice of
butchering animals) points into the direction of death. Geol and Liþa celebrate winter and
summer solstice.
This sacred cycle is kept in balance by the opposing forces, if overcome, it will drop back into
chaos. Ragnarök!

As we can conclude now, our picture shows opposing natural powers, embodied as Deities
and Giants, fighting over the Sun, once rendered as a (golden?) disk in the centre of this
scene. As the Geol-months include Winter-Solstice they are symbol of Death and Rebirth.
According to the dot-marks between his feet the giant with the helmet may represent the last
month of the “dying” year, Ærre Geola, as he is being hit by the sword of the warrior
dropping out from the battlefield. Consequently, the other giant stands for Æfterra Geola, the
first month of the New Year. Their opponent is Ægil, the archer, who represents fife of the
months, Summer Solstice among them. He is backed by the deity under the arch behind him.
Intended or not, there are 7 arrows “in the game”, as many as there are months, which are not
under his control, and as it seems these arrows (above the disk) are directed against the
approaching winter while no arrows (below the disk) interfere with the oncoming spring.
The two naked warriors may be interpreted as one and the same, Freyr, who guards the cycle.

It is tempting to look for Baldur44, though if he ever existed in Anglo-Saxon tradition he has
left no traces. Anyway, the archer may render a clue. This Ægil, has repeatedly been
identified with the Greek hero Achill. If there is a point of comparison it is their assumed
invulnerability which in the end proved fatally wrong. It might be him mortally wounded be
an arrow, but even this is mere speculation. We should leave it at that, and confine us with
this newly found cycle of months, which reflects the succession of the seasons by the image
of Birth, Death and Rebirth, an order safeguarded by the Æsir till the days of Ragnarök.
43
See Pollington, Elder Gods, p. 225 – 226 on Eostre and Solmonað
44
Ibidem p. 214 - 215

14
 Autumn
Equinox

10 Winterfylleð 9 Haligmonað

11 Blotmonað 8 Weodmonað

12 Ærre Geola 7 Æfterra Liþa

Winter Solstice Summer Solstice

SOL
1 Æfterra Geola 6 Ærre Liþa

Ægil
2 Solmonað 5 Ðrimilcemonað
Giant
3 Hreþmonað 4 Eostremonað
Spring
Equinox

© Alfred Becker, Bremen (Liþa 2015)

Summary

The chest most likely was designed as a gift box for a king like Edwin of Northumbria
(†632/633) or Penda of Mercia (†655). The sequence of pictures illustrates a heroic life: Birth
(Magi); Valkyrian partnership (Wayland) on to the “ride” to war (Romulus); victory and glory
(Titus); death in battle (Herh-Os); resurrection among the Einherjer in Valhalla (Ægili).
Valkyrian assistance is part of all these scenes. This desired path of life in pictures is
supported by runes significant in name, number and value.

On the other hand the carvings refer to two divine trinities already mentioned by Caesar and
Tacitus. The first one (Sol, Luna and Vulcanus) is rendered with images of Jesus, Mary and

15
Wayland on the front panel (Front). According to their divine nature Mother and Child are
placed under an arch.
The second trinity (Hercules, Mars and Mercury) is alluded to in the sequence of remaining
three panels. Here the runes (upper left corner) relating to the pictures indicate the deities.
Left (r hinting at Thor), Back (t referring to Tiw) and Right (s for afterlife at Woden’s
Valhalla). The attributes (animals) of these gods substitute for them under the arch on the
Back.
All these four panels reflect Midgard’s four seasons: Winter (limited to Geol) with the death
and rebirth of the Sun; Spring with Thor, the god of vegetation; Summer with Tiw, who may
be understood as victor over darkness and iciness; finally Woden, whose Harvest (autumn)
are the slain warriors chosen for Valhalla.

The Lid topping it all is the appropriate site for Asgard. The initial rune in Ægili, A, æsc, does
not only stand for strong resistance, it also refers to the ash tree, the species of tree Yggdrasil
belongs to. This is the realm of the gods. We may suspect Woden himself under the arch;
though it may well be – if there is a female – that Frigg (or Freya, if the same) has taken that
seat of honour. All these godheads now are the name patrons for the days of the week from
Saturday, Sunday and Monday on the Front, Tuesday (Back), Wednesday (Right), and
Thursday (Left), while Friday refers to Frigg in Asgard, who seems to have the say there.
At the same time the Lid renders the 12 months of the year as a cycle, assorting the individual
months to their protective or destructive powers.
This result is in agreement with earlier findings according to which the number of runes on
the casket constitutes a 10 year (i.e. eternal) solar calendar while their value renders a precise
lunar equivalent with a Metonic cycle adjusting both.

We may then wonder if there are even more gear-wheels to an up to now undetected early
medieval astronomic clockwork.

16
 Asgard A (esc) > Yggdrasil Frigg / Freya(?) > Friday

r Way to war

h death > s renewal

Giants Sun (?) Valhalla h death > s renewal

attack at the Sun (?) A defence of the Sun(?)

Midgard < < < Sequence clockwise

< [h]) s Right << t Back << r Left <f g Front

Course of the heroic life from birth to death and into Valhalla (Midgard to Asgard)

g f
[h] heroic death t victory, justice r Way (rad) to war
s resurrection to glory
< Noble Birth (Magi)
< Valkyrian Partner
Valhalla
These 6 thematic runes (S T R G F Æ) produce the value 72
The Trinity according to Tacitus according to Caesar
Woden/Odin (Merkur) Tiw/Tyr (Mars) Thor (Herkules) Luna [Mary]< Sol [Christ]
Vulcanus [Wayland]

3 Seasons related to the Trinity according to Tacitus

< Autumn [hærfest] < Summer [sumor] < Spring [lencten] < Winter [winter]
<
3 Weekdays related to
3 Weekdays related to the Trinity according to Tacitus the Trinity of Caesar

Monday (Luna)
Wednesday Tuesday Thursday Sunday (Sol)
Saturday (Saturn < Vulcanus)

9-runes charm / value 110I { 3 x 9-runes charms / value 330} (= 36 runes / 440 value)
74 runes 48 runes 72 runes 72 runes
1008 value (42 x 24) 612 value 960 value (40x24) 720 value (30x24)
22 tituli = 278 value + Capitals of Metonic Cycle

Value three panels 2580 + 720

17