12 Fredrik B. Wallem. [No. 13 



down by Torstein Knarresmed witli an ax that hits him just 

 above his knee. Behind the king-, on the left of the scene, the 

 king's warriorS; with cross devices on their shields, are fighting the 

 foe, of which three men besides Torstein are represented on the 

 right. All the warriors are clad in armour, some have coats over 

 their armour, and all are carrying shields, and are armed, either 

 with battle-ax, or sword. 



This battle scene is instinct with life. But, while the warriors 

 are bravely exchanging blows with their opponents, the king himself 

 is depicted in an inactive state. This feature is found on many of 

 the Mediæval representations of the death of St. Olav — the king 

 is not defending himself, but is cut down. In the sagas, how- 

 ever, his death is told differently. Snorre relates how king Olav 

 bravely fought at the head of his men, so that the peasants who 

 beheld his countenance where terriiied and awestricken by his aspect. 

 It was only when ho had received his mortal wound that the king 

 threw his sword away, and invoked the help of God. 



Why do the representations of the battle of Stiklestad often 

 differ from the description given in the sagas? A general survey 

 of the representations of St. Olav in Mediæval art will afford us 

 a clue to the explanation. 



The most common representation of St. Olav shows him as the 

 crowned king, with the royal orb or a ciborium in one hand, his 

 ax or sceptre in the other, treading on a dragon or a warrior 

 symboHzing heathendom. The king is often represented in a standing 

 position, but quite as often sitting in state on a throne. Thus St. 

 Olav appears as the great patron saint of the realm, the conqueror 

 of the heathen and evangeliser of Norway. In this form he appears 

 as the Christian king and saint whose laws were the law of the 

 land. Similar images of St. Olav have adorned almost every church 

 in Norway and many churches throughout Scandinavia. 



But, to the popular mind, king Olav appears rather as a na- 

 tional hero than as a historical personage. He is the performer of 

 the most wonderful expioits. He was endowed with many of the 

 heathen conceptions about Thor. The traditions of his combat with 

 the trolds, and his wonderful saihng, were known and popular 

 throughout the Scandinavian countries, and it is not surprising to 

 find them depicted in Mediæval art. The mural paintings in the 

 churches of Vallensbæk (Sjælland), Floda (Sodermanland), Tegelsmora 

 (Upplandj and Kumbla (Yermland) represent St. Olav as captain 



