The importance of Saint Olaf - the case of the Skjervøy altarpiece

Today, July 29, is the feast of Saint Olaf. He was killed at the Battle of Stiklestad in 1030, in an attempt to regain his kingship of Norway after two years in exile. The following year, he was proclaimed a saint on episcopal authority, and Olaf become one of the most widespread and popular saints in the Norse North Atlantic and in the Baltic region. The cult underwent several surges of popularity and cult activity, as is the case of all saints. However, because the veneration of Olaf spread far and wide, and because this dissemination happened early and at a point in time when no single cult centre or ecclesiastical authority could control it, the surges of Olaf's cult developed differently at different parts of Latin Christendom. For those of us who research the cult of Saint Olaf, this complexity is both exciting and exhausting, as we have several parallel strands of development. 

Measuring the popularity and importance of a given saint is always difficult, because the surviving source material will rarely provide us with much information. And if there is information, it is usually limited to a specific time period, or it favours the perspective of a particular societal class, or it might do both. In the case of Olaf, the surviving sources allow us to attest to the wide geographic reach and broad societal appeal of his cult. But although he was venerated from Greenland to Estonia, this does not mean that he was always and everywhere equally important. Iceland, Denmark, Sweden and Finland, for instance, were cultural geographies with their own native saints. In some cases, Olaf remained more important on what we might call a geography-wide level, but within the different parts of those geographies - landscapes, counties, however you want to call it - a different saint might be more important.  

In the case of Olaf, there is a particularly interesting altarpiece which serves as a very good demonstration of Olaf's importance in the hierarchy of saints. This is an altarpiece from the now-lost Skjervøy Church, located in Troms in Northern Norway. The altarpiece was most likely produced in Northern Germany or the Low Countries and commissioned by the parish priest and probably also high-ranking laypeople of the community. In the centre of the altarpiece is a depiction of God lifting up or supporting the dead Christ, which at the same time communicates the dual nature of Christ - both God and man - and the primary, central position of God in the holy hierarchy of Christian cosmology. On God's right-hand side is the Virgin Mary carrying the Christchild, shown as the second-most important figure in this hierarchy. On God's left hand we find Saint Olaf, holding a ciborium and clutching a now-lost axe (which was his main attribute). The saint-king is standing atop a human-faced dragon, a common aspect of representations of Saint Olaf in medieval art, and its exact meaning is still a matter of debate. 

The Skjervøy altarpiece (after 1515)

Museum of Cultural History, Oslo, C3000

 

In this altarpiece, the importance of Saint Olaf is communicated very clearly: He ranks third in the hierarchy of Heaven, which puts him as the most significant and effective saint in all Creation next to the Virgin Mary, who in turn was regarded as the intercessor above all others. The importance is clear, but we are left with the following question: Importance for whom? Should we infer from this very clear depiction of the top tier of the holy hierarchy that Olaf had a similarly high rank throughout all of the Norse world? Throughout all of Norway? Throughout the diocese? Or just for the parish community in Skjervøy? 

We know from the Breviarium Nidrosiense, a liturgical manual printed in 1519 that set the standard liturgy for the entirety of the Norwegian church province, that Olaf had a high rank. But this standard was set at the metropolitan see of Trondheim, which was also the saint-king's cult centre. Throughout the church province itself, other saints could - and did - rank more highly. Similarly, within Norway, as well as within the diocese of Trondheim - which included the Skjervøy parish - there were communities who turned first of all to other saints. Perhaps the dedicatee of their parish church, or the diocesan patron - such as Sunniva in Bergen or Hallvard in Oslo - or any other saint to whom the a given community felt particularly attached. 

The top of Heaven's hierarchy as depicted in the Skjervøy altarpiece is probably only reflective of Skjervøy and its community. They had commissioned the altarpiece, which meant that they had most likely specified which figures to include. Even within the Skjervøy community, however, we should expect that there were individuals who might accept that Olaf was an important saint, but who turned more readily to other saints for reasons of personal attachment, for instance.  

In short, the Skjervøy altarpiece tells us a lot about Saint Olaf's importance, but only for a very specific community, and at least for the leaders of that community. In this way, the altarpiece is a good example of why the question of importance needs to be approached with great care, lest we exaggerate how popular a given saint actually was. 

The iron pilgrim - an aspect from the cult of Saint James the Elder

Ne wight with him for his assistance went, 

But that great yron groome, his gard and gouernment 

- Edmund Spenser, The Faerie Queene (Book 5, Canto 4, Verse 3) 

What did you see? Mere ironwork ... He exists without existing, understand, recruit? 

- Italo Calvino, The Nonexistent Knight (translated by Archibald Colquhoun) 

As today is July 25 - at least in my time zone - I am reflecting on the cult of Saint James the Elder, whose feast is today. One of Christ's closest apostles, he became the focal point of a cult centred in Compostela which surged in the early twelfth century, and which resulted in a plethora of various depictions and interpretations throughout the centuries. There are several images of Saint James the Elder - both in texts and pictorial art - which emphasise different aspects of him. For some, he is the apostle, for others he is the battle-helper, the pilgrim, or the moor-slayer. And for some, he is all of these things and more. This multifacted interpretation of a figure is something that fascinates me, as the various images that co-exist and circulate concurrently are excellent ways of analysing and understanding historical memory of one or several communities. 

Throughout the Middle Ages, Saint James the pilgrim became widely known from the twelfth century onwards, due to a concerted effort from the custodians of the saint's cult at Compostela in Galicia. As they were the keepers of the saint's holy body, they were best situated to offer interpretations of his patronage to the wider world. Through sermons, prose narratives, liturgy and various forms of pictorial art commissioned for the church space, archbishop and his retinue presented the faithful with a composite image of the saint which allowed various audiences different reference points for connecting with the holy man. For some, James' protection of pilgrims was of particular interest, so this aspect was what they emphasised, and it was this patronage they sought when needed. Since the fame of Saint James spread through pilgrims, it is no wonder that so much of the surviving source material of texts and images depict the saint dressed in the characteristic broad hat, carrying the staff and the flask, all of which are emblematic of the pilgrim and - by extension - of the saint and therefore of the connection between pilgrim and saint. This emphasis was a historical interpretation, and a shaping of historical memory. Saint James the pilgrim remains a powerful figure in today's cult, too. 

As I was going through some photos from my first visit to Santiago de Compostela, I came across one picture that caused me to think more carefully about the iconography of saints in genereal. The figure is a machine that allows you to insert coins and imprint a commemorative stamp on them as a keepsake of the journey to one of the largest pilgrimage sites of Latin Christendom. The machine is shaped like a pilgrim, recognisable in its hat and carrying the iconic staff. In this way, a common tourist trap has been dressed up with a local specificity, and it becomes in effect a nexus between images of faith and images of commerce. The commercial interests of the shops borrow the iconography of the religious centre in order to make money. This is a very medieval practice, and not very far removed from the pilgrim badges sold at the various cult centre.   

This nexus beteween the religious iconography of the cult of Saint James on the one hand, and the derivative iconography of local tourism poses an interesting quandary for saint scholars. Because on the one hand, it seems fair to assume that this mechanical pilgrim is not meant to depict Saint James himself, but rather a stylised pilgrim. On the other hand, however, the stylised pilgrim is an iconographical shorthand for Saint James. Those who travel to the shrine at Compostela will immediately recognise the hat-wearing holy man in the various statues and images encountered throughout the city. Even though the stickers on the machine advertise new coin-stamps that depict apostolic, ecclesiastical iconography, most visitors will be aware that Saint James the Apostle and Saint James the Pilgrim are one and the same figure.  

Can we, then, at some level, claim that this metal pilgrim shaped to attract visitors depicts Saint James the Elder? It depends on how we understand iconographical representation. That the two figures - the saint and the pilgrim - are connected is beyond any controversy. But to what extent can a figure be seen as separate from its representative. I believe that this separation is a spectrum, and that it depends entirely on the viewer whether what is seen should be understood as a representational depiction or a direct depiction, whether it is depicting a symbol of the saint or the saint himself. Someone sufficiently well-versed in the iconography of Saint James the Elder but not particularly careful in their observation might take this machine to be a statue of the saint himself - a rather simplistically stylised statue but nonetheless an image of the holy man believed to be buried in the cathedral. A passer-by might offer a prayer to the metal figure, thinking it to be one of those pictorial renditions of the saint that serve to allow for a more tangible point of connection between the earthly and the heavenly. After all, a wooden statue of Saint James would partly have precisely the same function. 

This pilgrim-shaped machine is a reminder that religion is formed in large part by those who practice it, and that individual religious expressions must be understood as elements in the sum total of that religion's history. If someone interprets this pilgrim-shaped machine as a holy statue, the machine becomes such a statue to all intents and purposes, at least for the person who makes that interpretation. For me, a researcher whose analysis is mainly limited to the official, authoritative images of saints and other memorialised figures, these impossible questions about individual expressions of faith provide good reminders that what I study is only part of a greater whole. Reminders that there can at any point exist interpretations of saints to which I will have no access because those interpretations have not been committed to sources. Such reminders serve to keep me from being overly confident in my own analysis, and that is a very good thing. 

Serendipity as method, or - The case for reading broadly

 

Sometimes they stand too near the problem. Often, if a person looks at something very closely he can see a few things more clearly, but the shape of the whole thing escapes him

- Edgar Allan Poe, The Murders in the Rue Morgue

 

After close to fifteen years as a professional medievalist, I remain hesitant about giving advice to students and younger colleagues. Academia has undergone so many changes, has seen so many trends come and go, and has sustained repeated damage from governments and funding institutions. Even though I am still relatively early in my career, the factors that helped me succeed when starting out as a freshly-defended MA are not necessarily relevant in the current climate. And as someone who has witnessed a lot of bad, outdated advice – however well-intentioned – doled out to either myself, colleagues or my generation of medievalists, I am painfully aware that such advice can sometimes lead dangerously astray or serve as a testament to the gulf between those who have secured permanent positions and those who might never be able to do so. Giving advice as an academic, therefore, can be something of a poisoned chalice.

 

There is, however, one advice that I will give unhesitatingly, unreservedly, and even unprompted. That advice is to read broadly, no matter your topic, your field, or your discipline. In academia, there is a widespread and often unspoken assumption that in order to become an expert on your topic, you have to dig deep and only dig deep. In an academic environment tainted both by the perverse logic of business and by the centre-of-the-box thinking of funding bodies, it is very easy to fall into the trap of thinking that you should not waste time reading what is not immediately relevant to what you are working on at the moment – whether it is for a particular course, a dissertation, or a thesis. You dig deep, you become an expert, and you show that expertise by presenting information gleaned both from the sources and from the secondary literature. But the problem of digging deep without also minding the breadth is that you become very isolated.

 

The idea that you need to be laser-focused on your particular topic in order to be a good academic is a misguided approach to transforming information into knowledge, and converting data into understanding. When starting out as an academic, you do not know enough about your topic to evaluate which source texts or which studies are going to be useful for your analysis. Much like you cannot draw a map of a road until after you have travelled to its end, you do not have the expertise at the beginning that you are going to have at the end of your degree. After all, the whole point of doing an MA or a PhD is to expand your knowledge and increase your expertise so that you are better prepared for the work that lies ahead of you, no matter whether that work is related to academia or not. 

 

Because we do not know what aids our analysis until after the analysis is done, the laser-focus approach to reading means that it is very easy to miss connections that can only be made when looking beyond where the laser is pointing. It is not impossible to get good results by myopically staring at the most relevant material – it is, indeed, frequently done – but that approach is absolutely no guarantee that you will get the best result, or even the result for which you are hoping. Due to the uncertainty of how analytical breakthroughs are made – because they are unique events that depend on the material contained in the analyst’s brain – we are best prepared for making such breakthroughs by reading beyond the confines of one’s chosen topic. Reading broadly is a way of shifting focus away from your main object and thereby seeing that object in a different light. It might be helpful to learn, for instance, that there are cases similar to yours in the vast repository of available historical information. It is healthy to be reminded that no matter how unique your material is, the finiteness of human imagination and creativity means that it is far less unique than you at first might be tempted to believe. In short, reading broadly allows you to situate yourself in a much broader context, which in turn enables you to understand how your topic is unique and also how it is not. Good analysis depends on both these types of understanding.  

 

The fact that we do not know from the onset what reading we need to do in order to make fruitful connections can at times be daunting. It is easy to worry that you are going to miss a text that will give you the one connection you need for your breakthrough. It is easy to become obsessive and turn the virtue of reading broadly into the vice of reading everything. Consequently, it is also important to embrace serendipity as method when setting out to read broadly. Because there is no single solution for how you should read in order to do the analysis you want to do, to have those revelations that allow you to move the state of the art a few inches further, and to allow you to say something new and valuable on the topic at hand. This means that instead of reading everything, you read a bit here and a bit there, waiting for the revelations to come. And when they do not come, you make do with good old-fashioned gruntwork. 

Recently, I was reminded of how reading broadly and applying serendipity as method can be immensely rewarding. Earlier this year, I bought El Diccionario de lugares utópicos [Dictionary of utopian places], edited by Juan Pro and published by Silex in 2022. It can be downloaded as a PDF here. This dictionary is a wonderful resource for anyone working on utopian thinking, and I have spent many hours this summer poring over several of its entries. What prompted the purchase of this book was that I am working on an article on violence in utopian societies, co-authored with a friend of mine. Several of the dictionary’s entries have proved very useful, but since I also want to read the book in its entirety I have also spent time on entries further removed from our topic. 

 

Admittedly, reading entries from a dictionary of utopian places when co-authoring an article on utopian thinking does not qualify as reading broadly, even though some of the entries in question have pertained to times and places very far removed from the scope of the article. But the revelations I experienced when perusing entries on the fringes of relevance for this particular article had nothing to do with it. Instead, I suddenly encountered formulations and key points that allowed me to get a much better understanding of a very different topic.

 

For two forthcoming publications, I am again delving into the cult of saints in medieval Norway. I am particularly interested in the ways in which specific cults enabled elite groups to formulate a vision of a golden age in order to legitimise attempts to recreate that past golden age in the present. This way of manipulating history is a universal feature of human history, and although this manipulation unfolds in a unique way in medieval Norway, its unfolding is not wholly alien to other similar manipulation projects. Consequently, as I was reading about the role of the Inca Empire in modern-day Peruvian utopianism, I encountered a formulation by a Peruvian historian that fitted perfectly into an analytical point that I had tried to put into writing. The contexts of the two topics are of course very different, emerging as they have from unique historical trajectories. Nonetheless, because humans can only seek power in so many ways, the contexts were sufficiently similar that I was able to use one to illuminate the other. 

 

There is a particular joy in embracing serendipity as method. Rather than worrying about whether you are missing any of the important texts pertaining to your topic, you can read beyond your field with a clear conscience, knowing that there is no single revelation to find, and acknowledging that revelations can strike from many different directions. It is impossible to say whether it will come from a study on a very different topic, from a novel, from a poem, or from a comic book. By reading broadly and expanding your frame of reference, you are better suited to catching such connections that might help you strengthen and deepen your analysis. Consequently, there are no wrong turns to make, no wasted pages, no lost hours – everything you read prepares you for receiving the revelations that lurk somewhere in the sum total of human writing. Reading broadly, and aiming for serendipity, are the two best approaches for ensuring that those revelations can be recognised as such. 

Thrice-illumined

 

Western Norway has been a grey castle this June, with mist and grey clouds being constant features throughout almost every day, and also bringing with them torrential showers or milder but more continuous drizzle. As summer arrives, I seek the balcony at the back of my paternal grandparents' house, enjoying its shade until the sun floats into view in the early afternoo, thereby making the place too hot for either work or leisure. This year, however, the rain and cold have induced me to use the porch at the front of the house as a temporary work space. I have done so in previous years, too, but lacking access to the balcony has meant that I have sought porch much more frequently, especially because the dark evenings have provided a good excuse to light the three-pronged candlestick which I keep there. 

Last night, there suddenly broke through a piercing silvery light from the moon as it was climbing the mountain range on the western side of the fjord of my native village, Hyen. This sudden illumination was a drastic change to the heavier light that had preceded it, and it caught my attention immediately. Looking out through the window on the side of the porch, I saw the light of the moon filtered by the clouds, powerful enough to be reflected in the creased surface of the lake behind the house, and I also noted that the window glass in turn reflected the flames of the three candles, as well as the reflection of of one them in the window glass on the front of the porch. It was a lovely moment that made me feel thrice-illumined, and it was a very atmospheric reminder of why I tend to sit in this little nook even when I need to wear a jacket and a blanket - these shifting skies mean that no two evenings are alike in this place. 

A note on reading fragments - or, Why human agency remains important

This week, there has been a lot of publicity around the latest development in the efforts to extract texts from the fire-damaged scrolls from Herculaneum. News outlets tend to focus on the role of AI in the process, not distinguishing between various forms of technology that fall under the broad label of artificial intelligence. As has been pointed out by several commentators on social media, however, the role of artificial intelligence consists of distinguishing ink from papyrus, leaving the actual transcription and identification of the content of the scrolls to human agency. In other words, the main part of the work is done by human researchers with expertise and knowledge. In a post by Dr. Naomi Scott of the University of Bristol, she pointed out that the main work is done by human experts, and posted a quotation from Professor Llewellyn Morgan of the University of Oxford published in a news update from the university in 2025. 

In the quotation from Llewellyn Morgan, there was one particular passage that stood out to me. Morgan likened the pattern recognition by machines to how eighteenth-century copyists who copied what was written on scrolls, but who could not understand the content. This reminded me of an anecdote from my experience with manuscript fragments that really made me understand how experts often need inexpert eyes to help their work progress. 

About nine years ago, I was researching fragments of medieval manuscripts in the special collections at the University Library of Southern Denmark. Most of these fragments were used as bindings, and had been subject to a lot of wear, tear, and years of occasional water damage. Consequently, the texts on these fragments could be very difficult to decipher, as it was often challenging to distinguish a letter from a letter-shaped smudge. In some cases, I also came to realise that my expertise in palaeography and Latin hampered me when the text became too illegible, because I was too focused on the word in its entirety rather than the individual letter, which meant that I often kept searching for one of many possible words that seemed like reasonable option for one specific string of letters. 

In order to better identify the letters, I took close-up photographs of the fragments or parts of the fragments, printed these out, and traced or separated the various letters with a pencil. This method was sometimes successful, but it depended entirely on the state of the fragment, and I was again hampered by the expectations which were leading my gaze. 

I showed some of the pictures to a friend of mine. At that time, he had no experience with medieval manuscripts, palaeography, or Latin. But he is a very good photographer with a keen eye for details, and I thought that he might see things that I did not. This turned out to be the case. As my friend looked at the photographs, he told me very simply what he saw, and I then could focus on that one thing and determine whether this was a letter or simply a letter-shaped smudge. This was a kind of a refocusing, or a recalibration of the gaze, and it was an immense help. In some cases, what my friend saw was irrelevant, but I could only assess this irrelevance after a closer scrutiny, and when transcribing a worn and faded fragment, it is just as important to know which things to ignore. Through his help, I was able to transcribe some lines that had frustrated me for a long time, and I was then able to identify the text itself, which in turn was very important for the general identification of the fragment. 

The exercise was a revelation for me, because it showed very clearly how much help I could get from someone who was not in my academic field or even close to it. In this sense, my friend was doing much of the same job that machines are doing for the Herculaneum scrolls. He was finding patterns, noticing things that I overlooked because I was distracted by the bigger picture. And even though this kind of work would have been done much faster by a machine, the process was also very educational for me and helped me not only to do my work but also to improve my skills as a fragment researcher. As in most things, such research requires a lot of practice, and the kind of slow, incremental progress that my friend and I were doing was what I needed to improve at an early stage in my career as a researcher. 

In many cases, machines are needed to deal with certain aspects of source work, at least for speeding up the process. But sometimes speed is neither of the essence nor very helpful, because it is the slow, trudging pace that helps you improve, making you become an expert through constant practice. In short, human agency is not only still very much needed, it is also to be preferred. 

A woodcut for the Nativity of John the Baptist

I should be in bed, but since it is a summer's night I am staying up longer than is sensible. This night, moreover, is the feast of the Nativity of Saint John, one of few saints in Latin Christianity whose earthly birthday is celebrated, and moreover as his main feast. The eve of Saint John is an important time in European folklore, and there are numerous traditions associated with the night between June 23 and June 24.  

Throughout the Latin Middle Ages, John the Baptist was a famous and popular saint, mainly due to his appearance in the Bible and his important role in the life of Christ. Several churches were dedicated to him, and his iconography made him a recognisable figure in medieval art. He is typically depicted as a wild-haired man dressed in a camel hide, usually holding an image of the Lamb of God, being, as he was, a forerunner for Christ.  

Due to this iconographical tradition, I was rather surprised to come across a rather different representation in March, when I was researching a collection of saints' lives printed in Lübeck in 1492, namely the Passionael by Steffen Arndes. This was the second edition of Passionael, and the printer had commissioned a new set of woodcuts. For the feast of the Nativity of Saint John, the woodcut does not depict the desert hermit typical of medieval iconography. Rather, it highlights the birth of the saint, or rather his childhood. His sainted mother, Elizabeth, is lying in bed while the holy child is bathed by a maid, a situation that neither maid nor child seems very happy about. It is a sweet domestic scene, perhaps reflecting the secular audience of the collection, namely the merchants and artists of Lübeck. 

Steffen Arndes, Passionael (1492)

Syddansk Universitetsbibliotek RARA M 15, f.44v

While I was surprised by this iconography, it was not completely novel the world of late-medieval Latin Christian art. The birth of John the Baptist was recounted in the Bible, and it was part of an expanded narrative commemorated through liturgical celebrations in the Middle Ages. From the late fourteenth century onwards, the Latin Church put greater emphasis on the feast of the Visitation of Mary (July 2), and it was established a compulsory feast at the Council of Basil (1431-49). The Visitation commemorated her visit to John's mother Elizabeth while they both were pregnant. According to tradition, John gave a joyful leap in his mother's stomach when he sensed the approach of the coming Messiah. Consequently, the scene depicted in Passionael fits well within the development of the cults of both Mary and John the Baptist in the later Middle Ages. 

One curious thing about the woodcuts in Passionael, however, is that this particular scene was also used for the chapter on the birth of the Virgin Mary, Nativitas Mariae, on September 8. The viewer is only asked to imagine that the mother who has recently given birth is Anne rather than Elizabeth, and that the baby boy in the bath tub is rather the baby girl who would grow up to become the mother of God. The reuse of this woodcut is perhaps primarily due to practical matters, an opportunity to pay for one less item, or perhaps to save time. But it is also a reminder that the reception of iconographical information is flexible. The readers and viewers of Passionael would eventually encounter both these woodcuts and recognise them as the same - after all, these two feasts are not that far apart in the liturgical calendar - but they would have no problem letting this image represent one occasion on one day and another occasion on a different day. The identity of mother and child changes as the occasion changes, but the scene remains the same because that scene encapsulates what is being celebrated on both occasions, namely the birth of a figure central to the life of Christ. This kind of flexibility requires a kind of pragmatism and iconographical literacy that is often overlooked by modern viewers, inculcated as we are that art needs to be individual and unique. As a consequence, we often underestimate the artistic understanding of the people of the Middle Ages. 

Steffen Arndes, Passionael (1492)

Syddansk Universitetsbibliotek RARA M 15, f.142r

A new publication on local history

 

Two weeks ago, the households of my native village of Hyen received this booklet in their mailboxes. It is a publication that celebrates the 150th anniversary of the local church, which is one of the historical and cultural centrepoints of the village. Aside from its importance as a religious house and a landmark in the fjordscape, it also serves as a reminder of our identity as an oft-forgotten backwater that has to speak loudly for its rights. This new church was built in 1875 and consecrated the year after, which was the culmination of a political process that had gone on for decades. In the nineteenth century, Norwegian governments were very economically minded when it came to the care of rural parish churches. A demand that functioning churches had to accommodate a certain number of people led to the destruction of the vast majority of the country's medeival stave churches, most of which were small and dark. Similarly, a village like Hyen was considered too small to warrant its own church. While there was a church in the Middle Ages, it is likely to have been decommissioned after the Reformation, and in the period c.1600-1876, the villagers had to row to the next fjord in order to attend services. The story of the drawn-out effort to build a church in the village is emblematic of how small rural communities often have to spend much time and money to make themselves heard. 

I was asked to write a contribution to this booklet, and I was very happy to do so. Although the booklet is dedicated to the modern church, its long-gone medieval antecessor is none the less an important part of its story, so I wrote a three-page overview of what we know about the church and the village in the Middle Ages. 

Contributing to a volume like is one of the great joys of being a historian. While this is the kind of publication that yields zero points when it comes to those bibliographies that have to be submitted as part of applications for academic jobs, it is a text that is academically solid and that will be read by a much wider number of people than any of my professional articles. In terms of outreach, this little piece on local history might be something of the most important work I have ever done.