Parish Find Location ⓘ
Ardre

Find Location ⓘ
Ardre church, in the floor.

Find Context Classification ⓘ
Church

Coordinate Find Location (lat) ⓘ
6365669

Coordinate Find Location (long) ⓘ
722219

Present Location Classification ⓘ
Gotlands Museum Fornsalen

Coordinate Present Location (lat) ⓘ
6393355

Coordinate Present Location (long) ⓘ
696536

Material
Sandstone

Height ⓘ
84

Width ⓘ
51

Thickness ⓘ
6

Lindqvist Type 
E (ca. 1000-1150)

Lindqvist Shape 
Dwarf stone

Runic Inscription or not ⓘ
Yes

Runic Inscription ⓘ
§A ⁓ utar + ak + kaiʀuatr + ak + aiuatr + þaʀ + setu + stain + ebtir + likna(t) + faþur ⁓ sen + §B ⁓ raþialbr + ak + kaiʀaiau(t)- + þaiʀ kiarþu + merki + kuþ + ubtir + man + saaran ⁓ likraibr + risti + runaʀ

Old West Norse
§A Óttarr ok Geirhvatr ok Eihvatr þeir settu stein eptir Líknhvat, fǫður sinn. §B Ráðþjalfr ok Geirnjót[r] þeir gerðu merki góð eptir mann snaran. Líknreifr risti rúnar.

Runic Swedish
§A Ottarr ok Gæiʀhvatr ok Æihvatr þæiʀ sattu stæin æftiʀ Liknhvat, faður sinn. §B Raðþialfʀ ok Gæiʀniut[r] þæiʀ gærðu mærki goð æftiʀ mann snaran. Liknræifʀ risti runaʀ.

English
§A Óttarr and Geirhvatr and Eihvatr, they placed the stone in memory of Líknhvatr, their father. §B Ráðþjalfr and Geirnjótr, they made the good landmark in memory of … man. Líknreifr carved the runes.

Swedish
Ottar och Gairvat och Aivat de satte stenen efter Liknat, sin fader. Radjalv och Gairniaut de gjorde god minnesvård efter en rask man. Likraiv ristade runorna.

Quote from Runor

Context and Discovery ⓘ
This is one of eight picture stones found in the summer of 1900, beneath the floor in Ardre church during restoration work: Ardre kyrka I–VIII (GP 15–18, 20, 21, 23). For more about the find circumstances, see GP 17 Ardre V.

Our stone Ardre III was lying to the north of the large picture stone GP 21 Ardre VIII, close to the northern wall of the old church (Pipping 1901, p. 6; ATA). When Pipping first arrived, part of the scaffolding was standing on the stone, but he got help to relieve the stone from the scaffolding and to excavate it from soil. The stone was broken into two parts. Pipping returned later the same summer and again in October to complete his drawings of the inscription (Pipping 1901, p. 3f.; Lindqvist 1941/42 II, p. 18). In the autumn of 1900, the stone was incorporated in the collections of the Swedish History Museum, but it is deposited in Gotland Museum.
LKÅ
GP 15 Ardre kyrka I
GP 16 Ardre kyrka II
GP 17 Ardre kyrka V
GP 18 Ardre kyrka VI
GP 20 Ardre kyrka VII
GP0021
GP 23 Ardre kyrka IV

Measurements, Material and Condition ⓘ
Sandstone slab, 5.3–6 cm thick. Height 0.84 m including the root, the width of the head is 0.51 m, that of the neck 0.48 m. The width at the lower edge of the decoration is 0.60 m, the height of the carving is 0.54 m, the root below the carving is 0.19 m (GR I, p. 205). The width of the ribbon with the runes is 2–3 cm, with the exception of the horizontal ribbon on face B, where the runes are larger. This part of the inscription contains the signature of the carver (GR I, p. 207). Sune Lindqvist erroneously writes that it is made of limestone (Lindqvist 1941/42 II, p. 21).

Both broad sides are polished quite carefully above the root; all traces of irregularities of the natural split surface have not been removed, however. The narrow sides of the body are dressed, with numerous chisel marks, at right angles to the broad sides and divided from them both by narrow chamfers. The narrow side of the head is hewn in the same manner, but convex in profile. Following the first sketch, of which here and there faintly drawn lines probably can still be made out, the contours were widened to grooves, 3–5 mm deep and rounded at the bases, after which the background fields were carved out, usually as deep as the contour lines. Finally, the background fields were then polished smooth. They are 3–4 mm deep (Lindqvist 1941/42 II, p. 21f.).

Lindqvist observes that, contrary to the masons creating the decoration, the rune carver distinguished himself with the same peculiar way he wielded the chisel that also can be observed on the stones of GP 201 Hemse Annexhemman I and GP 356 Sjonhem II: he appears to have worked with a narrow chisel, the blade of which was moved across the surface in a zigzag fashion and each time was put down on one of its edges, under strokes of the hammer that were very precise (Lindqvist 1941/42 II, p. 21f.). This can mainly be observed in the baselines (the ribbon) for the runes, but also in some of the runes. On close examination, it creates a decorative effect similar to, e.g., that of a textile border with strands or metal threads.

When the stone was found, it was broken in two parts (Pipping 1901, p. 4; GR I, p. 205). Judging by photos in ATA, the stone was mended at some time between 1933 and 1962, before the publication of Gotlands runinskrifter I in 1962 (GR I, p. 211).

Face A, with two dragons or serpents, was turned upwards while the stone was lying in the church floor (GR I, p. 206). On the root of Face B, with one dragon, there is a carved circular segment, c. 0.5 m in diameter, leading to the suspicion that this might be a reused A-stone turned upside-down. It is visible in a photo by Sören Hellgren from 1962 (Run- och bildstenssamlingen ATA) and was confirmed on inspection in November 2022.
LKÅ
GP 201 Hemse Annexhemman I
GP 356 Sjonhem kyrka II

Description of Ornament and Images ⓘ
Lindqvist describes the decoration as follows: “The stone is decorated on both sides with a central field with a relief carving of animal ornament surrounded by a ribbon with a runic inscription. The image panel of Face A contains, apart from two skilfully executed animals in early Runestone Style, two figure-of-eight bands as the uppermost elements filling the fields as well as the following figures: close below the centre, a person, sitting on a diminutive Klotzstuhl(?), without tunic or skirt; at the back of the neck, a ledge of unclear meaning (neckhair?, cowl??); one hand appears to seize an I-shaped object – or a rather long-shafted hammer(?) that perhaps previously had been lying on a rectangular surface directly below – tabletop or box(?). The other arm is raised to the face, possibly holding a ring-like object. More likely, the ring is formed by the hand itself, with the thumb placed against the other fingers, perhaps in order to grasp a small, now indistinguishable object. However, then perhaps the hand is empty and the described hand movement needs to be interpreted as a gesture indicating reflectiveness. In the lower left corner, a kneeling man can be seen, facing the border. Wound around his front leg is a loop of a narrow band, one end of which merges with the corner of the image panel, the other with the front tip of his tunic. Possibly, this represents a serpent, the head of which once was drawn within the contours of the man’s garment, but with lines so shallow that abrasion by footsteps later deleted all traces of it” (Lindqvist 1941/42 II, p. 22). We might comment that there are two thin lines on the figure’s garment indicating a belt.

Lindqvist continues that the decorations in the panel on Face B is formed by a single, peculiarly winding animal. Both this animal and those and the related band loops on Face A have on their bodies rows of shallowly drilled holes, which is an odd ornament that could be put in context with the inlays on certain contemporaneous pieces of jewellery (Lindqvist 1941/42 I, p. 123, II, p. 22).
LKÅ

Interpretation of the Imagery ⓘ
The two antithetical dragons are bound together at their necks by a union knot with a palmette. This is a common theme in rune-stone art that can be interpreted in a Christian context as demon powers fettered by the tree of life, expressed according to a northern 11th-century taste where the Old Norse eschatology can easily be reconciled with Christian concepts (Karlsson 1983, pp. 66, 110; Hultgård 1994, p. 290; Thrainsson 1994; Zachrisson 1998, pp. 142–143, 238).

As for the regularly spaced drilled holes inside the contour lines of the dragons, Lindqvist suggests the dotted animal ornament on a ring brooch from Austris in Tingstäde as a parallel (Lindqvist 1941/42 I, p. 123; see Hildebrand 1887, p. 114; Carlsson 1988, p. 36, 72). They also bring forth associations with decorative applications made of, e.g., silver or bronze (Sw. påsyningsbeslag or ströning).

The figure between the dragons seems to be sitting on a Klotzstuhl, a type of chair that appears on some other picture stones and that may carry some special significance, as it also appear as amulets (for more about the Klotzstuhl, see GP 282 När Hallute (G 93) and GP 341 Sanda kyrka (G 181)). Lindqvist does not offer any coherent interpretation, but suggests that it is a man on the chair, who either is holding a ring-like object or shapes his hand into a circular feature (Lindqvist 1941/42 II, p. 21). The object in front of the figure can be a table, chest, basket, game board or perhaps an anvil with a smithing tool. There is an ornament line inside of it, giving the impression that it has a frame or pattern. On the now sadly lost runestone from Ockelbo in Gästrikland (Gs 19 †), there is a figural scene with two people sitting at a game board; however, speaking against an interpretation of the object on the Ardre stone as a game-board is that there is only one single person. On the other hand, on the Ockelbo stone, we find another possible parallel, a figure holding a ring-like object. The human figure in the lower left corner of our stone Ardre III, with a loop around his leg, can possibly be interpreted as ensnared by magic fetters. Snædal interpreted the sitting figure as Odin with his ring Draupnir and the fettered figure as Loki (Snædal 2004, p. 59).

A smithing scene lies nearby; it is a topic known both from at least one other Gotland picture stone (GP 21 Ardre VIII) and from Swedish rune-carvings with motifs of Sigurd Fafnesbane (Sö 101, Sö 327). Consequently, Sigmund Oehrl has included Ardre III in his treatise on the Volund iconography (Oehrl 2009a, pp. 550–554; 2012, pp. 300–302; 2019, p. 100). He indicates that the sitting figure depicts the smith sitting in front of his anvil with a hammer, and lifting up his product, i.e., the ring, in his hand. Oehrl further points out that the sitting figure has an oddly elongated face, giving the impression that it is a kind of bird-human creature with a beak. The figure at the lower left has bird features as well, and therefore probably is the same individual, i.e., the fettered and mutilated smith Volund. That he is sitting on a chair may be a reference to his mutilation as well (Oehrl 2009, pp. 551f.; 2012, pp. 301f.). It might be mentioned that the stone Ardre VIII, which was lying at the centre of the collection of picture stones in Ardre church, has a motif of a smithy and that its pictures have been interpreted as illustrations of the Volsungasaga. In case the stones all belong to the same family, the sponsors and carvers of the later dated Ardre III might have chosen to relate to a family tradition by including a reference to the same circle of motifs.

Sigmund Oehrl treats Ardre III extensively in an article about the smith Volund (Oehrl 2009). He indicates that Lindqvist describes the figurines relatively accurately and conscientiously, but during the autopsy of the monument in the summer of 2006 Oehrl discovered more details. The figure between the snakes can be seen in profile and is directed to the left. He sits on a small chair. In one (lower) hand, the figure holds an elongated object with a tapered attachment at the bottom. This object seems to represent a tool – probably a kind of hammer. In the other (raised) hand, the figure holds a ring, which it holds close to its face. Immediately in front of the seated figure is a square object with a triangular attachment. The figure seems to place the hammer on this house-shaped structure. It is likely to be a work bench, probably a kind of anvil. Noteworthy is the special face shape of the anthropomorphic figure. The head is relatively small, almost triangular and equipped with a round eye. The seated figure of Ardre III has an elongated mouth that looks like a slightly open small beak. Against this background, an extension extending from the back of the sitter could be interpreted as a small wing. It cannot be the hair on the back of the neck or a hood, as Lindqvist suspects, because the appendix clearly emanates from the back, but not from the tiny head or neck of the figure. According to Oehrl, we are dealing with a hybrid, a kind of birdman. The anthropomorphic figure depicted in the left corner also has a short waterfowl-like beak. Upper and lower beaks can be seen. The head is roundish and provided with a tiny, pointed eye. The figure looks to the left edge of the picture, but the rest of its body can be seen frontally. This figure wears a tunic, puts hands on hips and kneels on the floor. The lower legs are angled by about 90° and directed to the right. A narrow ribbon emanating from the rune-bearing border loops around the figure's right leg and seems to tie it up. Particularly noteworthy is the representation of the feet. The right foot of the kneeling person is clearly reproduced. It is excessively long and widens towards the front, so that it resembles the foot of a water bird. As can be seen in the image by Sune Lindqvist, there is a crack in the lower part of the image surface. Due to the shadow caused by the crack, the right foot of the figure is barely perceptible in Lindqvist's photograph. The left foot of the figure is missing. However, the crack in the picture surface is not responsible for the absence of the foot. Above and below the crack – unlike the right leg of the figure – there is no trace of a foot. A roundish stump is clearly depicted. As there is no breaking point, Oehrl indicates that it is a deliberate mutilation of the bound "bird-man". The similar, beak-like design of the face suggests that the two figures of Ardre III are one and the same person. Beak and wings seem to characterize them as bird-like. The figure between the snakes is to be addressed as a goldsmith. He sits in front of a box-shaped, tapered work surface (anvil?) and holds a tool in his hand. With his other hand, he holds up the product of his work. It is a ring. The figure kneeling in the corner is bound and mutilated. Taken altogether, Oehrl arrives at the conclusion that a connection with the Volsungasaga is probable (Oehrl 2009, pp. 550–554).
LKÅ
GP 282 När Hallute
GP 341 Sanda kyrka I
GP0021

Runic Context and Comments ⓘ
The inscription mentions no fewer than six names; the three sons of Líknhvatr, two stone masons and the rune-carver are all named. Additional members of the same family are mentioned on the Ardre cist (GP 15–18; G 114), of which parts were lying in the same spot (see GP 17 Ardre kyrka V). The fact that the stone was signed by both stone masons and rune-carver parallels GP 208 Hogrän kyrka (G 203). Magnus Källström emphasizes that the stone is a piece of evidence that one person made the ornament while another carved the runes. He mentions two other cases, GP 357 Sjonhem kyrka III (G 136†) and Sö 356, and concludes that these monuments were produced in (the same?) workshops (Källström 2007, p. 302). The proportion of runestones produced by more than one carver is unusually high on Gotland and, furthermore, this is the only province where it is stated in an inscription that more than two crafters participated in the production of a runic monument – namely on this stone (Källström 2007, pp. 186, 201f.). Three different expressions for the making of the monument were used in the inscription, implying the range of actions undertaken: setu stain, kiarþu merki and risti runar. The sons had the stone raised and Líknreifr was the rune specialist called on for the inscription, while kiarþu merki refers to the shaping of the stone and the carving of the ornament (GR I, pp. 208f.). The last expression is unusual in signatures (Källström 2007, p. 91f). However, as kiarþu merki kuþ, is in plural it is uncertain what exactly is implied (cf. Ebel 1963, pp. 100f.; Källström 2007, p. 159). Furthermore, the term sætia is unusual for runic monuments of this period. This is the only instance for runestones in Gräslund’s style group Pr3, all other runic inscriptions with this term appear in earlier style groups and mainly in Västergötland, Östergötland and Småland (Kitzler Åhfeldt 2014, p. 245f., 250, Fig. 1).
LKÅ
GP 15 Ardre kyrka I
GP 16 Ardre kyrka II
GP 17 Ardre kyrka V
GP 18 Ardre kyrka VI
GP0208
GP 357 Sjonhem kyrka III

Type and Dating ⓘ
Type E, mushroom-shaped dwarf stone. The style group of the runic animals is uncertain, but it is suggested in SRD that it is Pr3, indicating a dating to 1045 to 1075 (Gräslund 2006, p. 126). Snædal includes the stone in her Ardre-group, i.e., runestones/grave cists, often shaped as picture stones, with runic inscriptions along the edge and pictures and ornament in relief in the middle (Snædal 2002, p. 67). Snædal suggests a date to 1100 to 1130, as for the Ardre-group.
LKÅ

References ⓘ
Pipping 1900; 1901, pp. 3–7, 15–22; 37–43; Brate 1902, pp. 134–136, 141; 1925, p. 131; Plutzar 1924, pp. 83f.; Lindqvist 1941/42 I, pp. 56f., 87, 89, 95, 122f., II, 18f., 20f., Fig. 153, 154, 169, 170, 224 d; 1964, p.7f.; GR I, G 113; Holmqvist 1973, p. 398; Lamm / Nylén 2003, p. 79; Snædal 2002, p. 67, 72f.; Källström 2007, pp. 91, 129, 159, 177, 186, 201f., 255, 302, 346; Oehrl 2009, pp. 551f.; 2012, pp. 300–302; 2019, pp. 100, 181.

 ⓘ
Fyndplats
I kyrkans golv.

Nuvarande förvaringsplats
Gotlands museum, i utställningen.

Datering
Sen vikingatid, ca 1045-1075 e.Kr.

Beskrivning
Liten bildstensformad runsten (dvärgsten) med runinskrift och reliefhuggen ornamentik på båda sidorna. På sida A finns två symmetriskt motställda drakar som binds samman vid nackarna med ett koppel som pryds av en palmett. Drakarnas konturer pryds av en rad regelbundet placerade borrade punkter. Ovanför drakarna finns på vardera sidan om palmetten ett åttaformat ornament. Mellan drakarna, i mitten av stenen, sitter en man på en kubbstol och håller ett ringformat föremål, alternativt formar tummen och fingrarna till en ring som om han skulle gripa något. Framför sig har han ett delvis rektangulärt föremål, som kan tänkas vara ett bord, behållare, spelbräde, städ eller något annat. Nedtill till vänster står en man (?) vars ben är omslingrat av ett smalt bandornament. Runinskriften följer kanten på stenen och avslutas i ett tvärgående band. I vardera nedre hörnet finns ett dekorativt kors.

På sida B är det endast en drake, men även denna är prickhuggen längs konturerna. Den omges av en runinskrift som fyller ut hela skriftbandet längs kanten och tvärsöver stenen. Liksom på sida A finns det dekorativa kors i vardera nedre hörnet av skriftbandet. Sida B har ett tunt ristat cirkelsegment på rotpartiet, som kan tyda på att det är en äldre bildsten av typ A som har återanvänts.

Inskrift
Runinskriften nämner sex namn, varav tre är bröder och tre andra personer har tillverkat bildstenen. De har skiljt på vem som har huggit till stenens form och ornamentik och vem som har ristat runorna.

Inskrift: Ottar och Gairvat och Aivat de satte stenen efter Liknat, sin fader. Radjalv och Gairniaut de gjorde god minnesvård efter en rask man. Likraiv ristade runorna.

Tolkning
Bildstenen är sannolikt ett kyrkogårdsmonument, där ornamentiken har ett kristet innehåll. Djurornamentiken med de bundna drakarna kan uttrycka att de onda makterna har fjättrats och oskadliggjorts.

Vad figurscenen i mitten föreställer är svårt att avgöra. Den skulle möjligen kunna föreställa en man med ett brädspel, men att personen är ensam kan tala emot den tolkningen. Ett annat förslag är att det är en smed intill ett städ med verktyg och med en ring i handen. Scener med smidesverktyg förekommer på andra bildstenar och runstenar och tolkas ofta som motiv ur Völsungasagan. Gestalten nedtill till vänster med insnärjt ben kan tolkas som bunden med magiska fjättrar – kanske guden Loke.

LKÅ

Title
GP 22 Ardre kyrka III

Jan Peder Lamm ID
13

Statens Historiska Museer ID ⓘ
11118:III

Lindqvist Title ⓘ
Ardre, Kirche III

Runverket ID ⓘ
G 113