GP 276 När Rikvide (I)

Context and Discovery
Lindqvist (1941/42 II, p. 104) notes briefly that “[t]his stone was found over a grave with burnt bones. N. J. Ekdahl brought it to SHM in 1826.” Probably, the stone originates from the large burial ground south of Rikvide farm (RAÄ När 6:1). It covers an area of circa 475 x 170 m (NE–SW), including properties of Rikvide, Rikviderör, Smiss and Hallbjärs, and features about 800 circular stone settings, only a few of which have been excavated and could be dated to the Vendel and Viking Periods (Thunmark-Nylén 1995–2006 III:2, p. 625; IV:2, pp. 550–554). Including those graves, which have been destroyed, the total number could be more than 1000. Only very small parts of the cemetery have been investigated; however, some loose finds have been collected in the course of the decades. There are also two gravklot (large spherical stones) and more picture stones (GP 277 När Rikvide 2, GP 283 När Smiss II and GP 281 När Smiss 3) originating from the grave field. GP 280 När Smiss I was found near the farmstead of Smiss, not far from the grave field, next to a group of robbed grave mounds.

The stone from När Rikvide I represents the very first Gotlandic picture stone that was delivered to SHM in Stockholm, where it is still on exhibition today (Warncke 1987a, p. 38). Apparently, the pastor and historian Nils Johan Ekdahl, who prompted the transfer to the museum in 1826, was the first person to recognize the antiquarian significance of these monuments (Lindqvist 1941/42 I, p. 9; Lamm 2012, p. 26).
GP 277 När Rikvide 2
GP 283 När Smiss II
GP 281 När Smiss 3
GP 280 När Smiss I

Measurements, Material and Condition
“Limestone slab, on average 6–7 cm thick. The obverse is slightly curved, but in large parts planed down by chiselling. In several places, however, there are deeper and severely weathered areas that might provide an impression of the stone block’s original appearance before it was hewn and carved into a picture stone. The narrow sides are levelled and form a right angle to both obverse and reverse. They are separated from the obverse by a carelessly executed chamfer of maximum 1 cm width. The reverse is rough and unworked. The height of the stone is 60 cm, the maximum width is 47 cm” (Lindqvist 1941/42 II, p. 104). The small picture stone is almost completely preserved. A small part at the top and the lower right corner of the slab are broken off, the root is missing.

Description of Ornament and Images
The carvings are described by Lindqvist (1941/42 II, p. 104) in great detail: “Generally, this stone is decorated with thin lines, carved 1–2 mm deep. The crosslines within the bordering [forming the typical step pattern, which probably represents a geometrized twisted cord], however, are wider and have rounded bases. At the very top of the image panel, a watercraft can be seen, with high stems, steering oar, and a small rectangular sail. Below it, there are two long-necked birds, facing each other. In the drawing by [Olof Sörling from 1909], each of the birds appears to have two legs, each formed by a vertical line with one or two crosslines (toes) pointing forwards or backwards [Lindqvist 1941/42 II, fig. 466; cf. ATA 2440:16]. At several places, however, it becomes apparent that the person who wielded the chisel here, whenever there was need to break a line to make an angle, out of neglect would extend the lines a bit beyond the point of intersection, for instance, both lines of the arm. This likely also applies to the carving of the bird’s legs; the stonemason probably intended to show only one leg for each bird, and this is represented by an upright-standing rectangle. Each aquatic bird depicted on the stone features a massive body, a pointed tail, a long neck with a tiny head, and short legs. Most probably, they represent a goose or perhaps a swan.

Interpretation of the Imagery
It has been argued that Continental models and Christian imagery influenced the iconography of the Type B dwarf stones. This refers above all to the waterfowl, in particular, those that appear in facing pairs. The currently known Type B monuments featuring single or pairs of aquatic birds are the following: GP 10 Alva St. Ringome (two birds and ship), GP 96 Garda Smiss I (bird and ship), GP 142 Halla Broa VII (bird and ship), GP 129 Hablingbo Stenstu (two birds and ship), GP 165 Halla Broa XVII (two birds), GP 200 Hemse Lindvide (two birds), GP 274 Norrlanda Bringes (bird, cross symbols, ship), GP 276 När Rikvide I (two birds and ship), GP 277 När Rikvide 2 (two birds and rhombic pattern), and the Type B dwarf stone found in Grobin, Latvia (two birds) (Petrenko 1991; Lamm 1991; Lamm/Nylén 2003, pp. 210–211).

The bird motif probably recalls depictions on late Roman and early medieval gravestones (Lindqvist 1941/1942 I, p. 40; Böhner 1968, pp. 187–190, figs. 92–93; 1989, pp. 458–460, fig. 19; Oehrl 2010a, pp. 31–32; 2019a, pp. 25, 54, 168; 2020d, p. 150; in print b) – Images of facing pairs of pigeons frequently occur on early Christian tombstones of Rome, mostly with a Christian cross, the Christogram or a small tree (the tree of paradise arbor vitae) between both birds. Those monuments have been adapted by early medieval Gallo-Frankish stone carvers, especially in the Rhineland (Böhner 1958, pls. 69–75; Engemann/Rüger 1991, pp. 76–77 no. 15, figs. 43, pp. 79–80 no. 17, figs. 45, pp. 81–82 no. 18, figs. 46, pp. 86–87 no. 21, figs. 49, pp. 87–89 no. 23, figs. 52, pp. 118–120 no. 39, figs. 71; Ristow 2007, cat. no. 93, pls. 40, 57, 75). Good examples of those stones depicting pigeons and the monogram of Christ or other cross signs, dating to between the 5th and 7th centuries, are the gravestones of Arcadius from St. Paulin in Trier, a gable-shaped stone from St. Maximin in Trier, of Mauricius from Kobern-Gondorf, of Besontio in St. Severus in Boppard and of Rignedrudis from Brühl in Nordrhein-Westfalen (Engemann/Rüger 1991, pp. 118–120 no. 39, fig. 71; Ristow 2007, p. 270, cat. no. 93, pls. 75a, 40).

However, not only the facing pair of birds but also the sign of the cross and the Christogram seem to have been imitated by Gotlandic stone masons (Böhner 1968, p. 188) – a ship and diagonal cross decoration, which is reminiscent of Christian symbolism, is depicted, for instance, on the stones GP 24 Ardre Petsarve II and GP 112 Gothem Bentebingels 2; cross decoration and a small framed St. Andrew’s cross in combination with an aquatic bird can be seen on the picture stone GP 274 Norrlanda Bringes.

In early Christian sepulchral iconography in the Catacombs of Rome, the pigeon symbolizes the human soul (Poeschke 1972, col. 242). The pairs of birds on the ancient and early medieval gravestones can be regarded as representations of the deceased, signifying the cross or the arbor vitae, which refers to salvation and entering paradise (Sühling 1930).

There are more parallels between early medieval Christian memorial stones and the Gotlandic Type B picture stones. The typical border decoration consisting of a primitive step pattern (representing a geometrized twisted cord pattern), which occurs on most Type B monuments, can also be observed frequently on early medieval stone sculpture of the Rhineland (Böhner 1968, p. 188), e.g., on the prominent Frankish grave stone from Niederdollendorf, dating to the 7th century (Böhner 1944–1950, pp. 63–75; 2002). Furthermore, during ʻAbschnittʼ B, a new kind of picture stone appears, called cist stone by Lindqvist, representing small gable-like slabs with a wave-shaped upper edge. According to Lindqvist (1941/42 I, pp. 40, 47–48, 58–61; 1964, pp. 42–84), they were used either pairwise representing grave markers or in a group of four that form cist-shaped (grave or sacrificial) monuments. Obviously, the characteristic shape of these stones can be traced back to Late Roman and early Christian sepulchral stones (Lindqvist 1941/42 I, fig. 216–217).

The aquatic birds are not the only animal motifs on Type B picture stones which are connected with Christian iconography. The Type B stone from GP 74 Endre skog depicts a red deer and a serpent. On the Type B stone GP 551 Väskinde Butter a red deer stag can be seen who is sucking in and eating a serpent (Oehrl 2019a, pp. 163–168, pls. 166a–167e). The deer, which is fighting, trampling down and, in particular, eating a serpent represents a widespread motif in ancient and medieval Christian literary tradition and iconography.

As a result, the Continental connections of the Type B stones and the Christian origin of their imagery appear obvious. On this basis, it could even be argued that there have been early Christian communities on Gotland as early as during the 6th and 7th centuries. More probably, however, the Gotlandic stone masons were influenced and inspired by Continental traditions but rather re-interpreted their models and adapted them to their own world of ideas. They certainly re-interpreted the pigeons, who represented the deceased in paradise, in a pre-Christian Scandinavian context, with regard to their own eschatological beliefs and ideas of the afterlife, transforming them into Baltic waterfowl (Hauck 1982, 259–260; Böhner 1989, 46; Oehrl 2010, pp. 31–32; 2012a, p. 96; 2015b, p. 223; 2019a, 54–55; 2020d, pp. 149–150; in print).

What those aquatic birds in their Scandinavian Pre-Christian context represent becomes more understandable after considering a small group of water birds depicted on Viking Age picture stones. The afterlife journey and the arrival in the world of the dead seem to be the main topics in the imagery of the Type C/D picture stones (see in detail GP 390 Stenkyrka Lillbjärs III), and in the context of this eschatological iconography, aquatic birds occur, probably representing valkyries in the shape of swans, accompanying and guiding the dead, see in detail GP 341 Sanda kyrka I, GP 91 Fröjel Bottarve, and GP 120 Grötlingbo Barshaldershed 6. Against this background, it appears plausible that the frequent depictions of aquatic birds on the Type B dwarf stones represent valkyries as well, along with the ship of the dead.
GP 10 Alva St. Ringome
GP 96 Garda Smiss I
GP 142 Halla Broa VII
GP 129 Hablingbo Stenstu
GP 165 Halla Broa XVII
GP 200 Hemse Lindvide
GP 274 Norrlanda Bringes
GP 277 När Rikvide 2
GP 24 Ardre Petsarve II
GP 112 Gothem Bentebingels 2
GP 74 Endre skog
GP 551 Väskinde Butter
GP 390 Stenkyrka Lillbjärs III
GP 341 Sanda kyrka I
GP0091
GP0120

Type and Dating
Middle-type picture stone, i.e., Type B according to Lindqvist, dating between AD 500 and 700. The stone belongs to those Type B stones described by Lindqvist (1941/42 I, pp. 37) as dwarf stones with convex but rather flat arched head and pronounced corners, which protrude horizontally. He assigns När Rikvide I to his so-called Stenstugruppe (ibid.), which is in particular characterized by depictions of aquatic birds in the lower or a simple vessel (i.e., ships of the Rikvidetyp – ibid. I, p. 66) in the upper field of the stone. Those monuments are frequently decorated on both sides. Lindqvist considers them to have been placed pairwise on graves. Varenius (1992, p. 63, appendix 2) assigns the ship depiction on När Rikvide I to his group 2 (enkel rigg), which he dates to the period between the 7th and 9th centuries. Based on the shape of the stone, however, Lindqvist regards it as an early specimen of Type B (1941/42 I, p. 115).

References
Lindqvist 1941/42 I, pp. 9, 37, 66, 70, 115, fig. 35; II, p. 104, fig. 466; Böhner 1968, pp. 188–189; 1987, p. 460; Varenius 1992, p. 63, fig. 20; Guber 2011, p. 138 cat. no. 58; Oehrl 2010a, p. 31, pl. IX:22; 2019a, pp. 2, 32, 168, pl. 26a; 2020c, pp. 149–150, fig. 32; in print b.

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