 Felly mae'n ymwneud ymlaen yn hyn yn ymwneud yr ysgol, i'r amser yn teimlo, yn ôl i'r cyd-rwyth. I'n gwneud ymwneud yn ymlaen yn ymwneud yn ymwneud yn ymwneud yn ymwneud, ac mae'n ymwneud yn ymwneud. Mae'n ymwneud yn ymwneud yn ymwneud. Ynch yn ei fawr, mae'n dweud i'r ysgol. Mae'r eur oedd eich ddweud i'r eur o'r pwg oedol, ac y ffordd o ffordd yn y bwysig, yw'r ffordd yn y bwysig, ond rwy'n ei ddweud yn y bwysig. A rwy'n wedi'u gwneud, mae'r ffordd yn y bwysig yn y bwysig yn y bwysig, yn y bwysig yn y bwysig, Ac y bwysig yw'r ysgol yw'r byw ytafodol gyda 1066, yn ystod y storiol yma, ychydig yng Nghymru yn 1066. Ond yn Sgymdeinigiaeth, mae'r ffordd yma o'r ffordd yma o'r gwaith yn ymlaen i'r 9th yma. A'r ffordd yma ymlaen i'r ffordd yma, ymlaen i'r ffordd yma, ac ymlaen i'r hynny'n gweld yn y Llywodraeth. Ac rwy'n gweithio, wrth gwrs, o gweithio'n gweithio'n ymwneud yw'r holl yn ymddangos a'r gweithio. Y gweithio'n gweithio'n gweithio'n 1904 a'r holl yn ymddangos yn y rhan o'r 9th. Y gwasanaeth fel wedi'u gweld arall y Ddoedd Gwyrdd Gweithio, a dyma'r unig, yn gyflawn i'r Rhaid Ddweudau Osibar, a ddweud o'r ddweud yma, hynny bydd o'n 80 fragymence o gyflawn. Mae'r ddweud o'r ddweudio'r ddweudio'r ddweudio. Wrth gwrs, rwyf argymau y cyfnod o'r bwyr a'r ffordd o'r ffordd o'r ffordd o'r blaeniaid a'r ffordd o'r ffordd o'r blaeniaid, o'r cread o'r digon o'r ffordd o'r maith gan'r rhaglion. A'r ffordd o'r ffordd o'r ffordd o'r bwyr, rwyf yn cael ei ysgrifwyr o'r rhaidd o'r ysgrifwyr, o'r hanfod, o'r cyfnod, o'r holl o'r hefyd. A'r rhaid o'r ffordd o'r ffordd o'r llich yn cael eu hynod. Gweld â'r cyfnod, cyfnod o phobl yn ymdannig ac a'r hyn o'n meddwl. Felly o'r cyfrifau. Mae'n gweithio'r cyfnod o'r cyffredig i'r cyfnod yn ymdannig i'r cyfnod i'r cyfnod ac eich cyfnod i'r cyfnod ar y bai cynhyrch. Ac ydych chi'n gweithio ychydig ymdannig hefyd yn cyfnod fel y ffynol rhidoriol yn y gallu gan ni'n ei ddau. Dyma'r holl o'r holl o'r cyffredig Sefydlu amdanoedd yma mae'r sefydlu yn ôl i ddisgrifio'r tydd. Mae'n bwysig sy'n ajw ar gyfer tefnol syniadu syniadau o'r sgwrs. Roedd yn cael JSON yn ôl yn ei fath o'r cyfrifiad. Mae'r cyfrifiad o'r 16-23 cm fydd 4-5 cm mewn cyfrifiadau. Felly, cerddwg wneud eich gwasanaethun cyfnodd maen nhw i gweithio'r gwaith cyffredinol a llwyddo'i gan gweithio hynny o gyfer yddydd. Rwyf yn roeddu cyfrifiadau trafodol ar y Cymru ymwyntanol ac fyddai'r gwaith yn ysgogol yw'r rhaid yn ni. Llywodraeth hynny, mae'n cyfrifiad ar y maen nhw yn gallu ddwyf yn gwmar. Rhyw hwnnais yn ffordd pewno ar y cyfrifiadau cyfrifiadau cerddwg – ble mae eich yn gallu neud wedi i gael. fi'n gwybod i'r ydydd ydym ni'n dyn nhw'n 3 ymddiannol ar y ddweud. Felly, mae'n meddwl yn y ddefnyddio'r ddau. Y cyd-fysgau o'r cyd-fysgau yma yn y ddweud. Mae'n meddwl yn ei ddefnyddio'r cyd-fysgau ar y ddweud. Ac ydych yn cael bod ychydig yw'r rhan o syniadau ddau sydd wedi'u bod yn ogylch yn gweithio y fforddol, yn ymgyrchu'r bwerd gyda'u ddylch yn gyrfaeid. Rwy'n credu i gafodd yma, ac mae'r cyfrifiadau, ychydig felly'r rhan o'i gydig yn gweithio. Ymgyrch yn siarad, wedi bod y byw'r gweithio'r gweithio, bydd yna yn ffungiol yn ffungiol. Yma yw yma yw'r ffungiol yn y cyfrifol ar y cyfrifol? Ymgyrch yn ymgyrch yn ymgyrch yn ymgyrch yn y ffungiol ar y cyfrifol yw'r ffungiol ar y gyfrifol yw'r ffungiol ar y cyfrifol. The tapestries from Wolfs by depict different legends or histories, and I will just briefly show you a few of them, and this is a new reconstruction of the two largest fragments, and they are very well preserved, but it's difficult to see and interpret when looking at them on a picture, that's why I'm using this reconstruction here. The central element in this scene is two covered carriages drawn by large horses. Male and female figures walk between the carriages, many of them carrying spears or other objects. The scene could be illustrating an actual event, for example a funeral, but even more likely it could be illustrating a myth or an idealised ritual procession. This fragment here is older than the grave, I can say so much, but we haven't concluded yet how much older. Symbols of violence are frequently used in the narratives, and two large tapestry fragments, in particular clearly depict battle scenes. The mythical features in the depicted scenes give us reason to assume that these are renderings of idealised or mythical battles. They are built up around a single scene, and in this one here two warriors in their skin lead about the warriors towards the left. They are met by a horned figure with two crossed sticks in his hands. In Norse mythology and poetry, warriors in their horn are often associated with the berserkers. These warriors rode in dumb bears skin, perotiously bit their shields and charged the enemy howling. The bears' characteristics were transferred to the warrior so that he in a sense became a strong and dangerous animal. Here is another interesting feature. Some symbols appear in several different forms and in many of the tapestry fragments, and spears are among them. Spears play a prominent part in these images, and they are occurring filling elements between the figures in many of the fragments, and sometimes they appear together with birds, as in this fragment here that I showed you. You can see birds and spears or arrowheads up there and down here. They are always pointing upwards, and the birds are also pointing upwards. I don't know what this means, but they are used frequently as filling in figures in these tapestries. Also, this shape here is very interesting because it's maybe a house construction. You see this oval shape here. These vaulted formations that could be cross sections, illustrations of houses, with rows of spears on the roofs. I don't know if you can see it, but on top there are lots of spears pointing upwards here. The shape is covered with spears, and they are very close together, pointing upwards. Spears are also associated with the dwellings of gods in Norse mythology, and especially with the halls of Algrim. Valhalla is described in the sayings of Grimni in the Poeticada, the halls of Odin where the roof is made of spears and the walls are covered with shields. Spears have also been found virtually deposited in Scandinavian grave mounds, as well as in houses in the military area in Vilca. This image must have helped in a significant meaning, because the motive is recurring in later medieval tapestries as well. For example, this one here from Mrennabu in Norway, dating to the 12th century. Here the many rod-like elements mounted on the roof are adorned with crosses instead of spears. Nonetheless, the motive is easily recognisable, as you can see. Perhaps the transition from spare points to crosses is indeed a sign that we are dealing with an idea where the meaning is subject to change. If this house in prayer Christian time was a way of representing a hall in Norse place of worship, the same imagery could easily be converted into a sacred place of worship in a Christian context. So, whether you see them as representations of its rituals or actual events, it should be reasonable to assume that many of these themes depict the tapestry fragments that are images of well-known concepts. As Scandinavian society did not have a proper written culture in the Viking Age, oral narration of poems and stories served as an important part of society's shared memory. Several poems exist written down during the Middle Ages, which describe the significance of tapestries when it comes to preserving and passing on collective narratives. Poems from the Poetic Edda may be the closest thing we have to a source for all Norse myths. However, as you all know, they were put in writing almost four centuries after those were burial and have been reshaped to some extent by Christian ideals. But they nonetheless present valuable representation of traditional religious beliefs and worldviews in the Viking Age and are probably rooted in much older oral storytelling traditions. So, how were these tapestries originally used? The tapestries from Ulsebyr were found inside a grave mound and inside the grave chamber, and some of them were laying on display, but some of them were stored away in the chest. But how were they used before that? Because we know that some of these tapestries are, as I said, much older than the grave. In the High Middle Ages, tapestries were used as wall hangings in the hall and near the highest seat if we are to believe the written sources. Traditionally, in Norway, early mother Norway, they were placed in ice height over the benches. But they were not, as Eva said, hanging on display all the time. There is a long tradition in Scandinavia for using wall hangings as decoration on special occasions only. The house was decorated with precious tapestries or all wall hangings when a feast was coming up or if a special and honored guest was expected. And their role as decorative objects and display of wealth is obvious, but they probably also had a function of setting the scene. The narratives on display would somehow be associated with the property owner giving the feast. And this type of occasional display offers a theatrical effect. Like the medieval triptychs, which was open on special occasions to make an entrance. As I said, the tapestries are narrow. You need to get quite close to them to read the narratives. Why make such an effort to produce narratives that is not visible unless you are very, very close? Some of the medieval sagas might offer a reasonable explanation for this. The saga of Ola Haralsson describes how tapestry depicting the famous history of Sigur the dragon slave was placed behind the king sitting in the high seat in a great hall. Thorfin Skall sat on the bench in front of King Olaf and then the king said to him, tell us Skall about the story depicted on the tapestry. And this story offers a possible explanation why the tapestries were made so narrow else and small. A key word here could be restricted access. The sagas should show how an authorized interpreter, namely the Skall, should explain the narrative. Thorfin was asked by the king to explain the narrative depicted on the tapestry. And he was invited to sit by the king near enough to see what was on display. The interaction between the tapestry weaver, the Skall and the occasion is essential here, I think. The tapestry weaver is the one depicting the narrative and thereby choosing the way a quality of history is presented. But the restricted access to the tapestry on display also offers an opportunity to control how the narrative is interpreted. The Skall chosen by the king is the one explaining the narrative to the people sitting in the hall. In a more ordinary form context it should be the local storyteller maybe that interprets the narrative on the wall hangings. And seeing this way the tapestry works as a memory stick. And to understand these tapestries we need to try to understand more about the interaction between the weaver, the tapestry and the port. And maybe central myths in Norse mythology as we see them in the medieval written sources originates in this tradition as displayed on tapestries such as those about tapestries. The occasional use and placement of these tapestries in the room might be of importance when interpreting early medieval buildings as well. Thank you.