Tag Archives: Divine Twins

The Twinfaced Figure from Thy

Ah yes, the “Thy figure”. Part of a Nordic Bronze Age find in the region of Thy, Denmark.


It was actually quite a thrilling find, from earlier this year (2019), and for a few different reasons. One was its timely arrival, coming as it did on the tail end of research I had been doing into the Divine Twins (Alcis, Hors and Hengist, etc.) and the Nordic Bronze Age. Incidentally, if you have not read “The Rise of Bronze Age Europe”, you know nothing, John Snow. But another reason for the thrill was the fact that the find was quite monumental. Stuff like this isn’t uncovered every day! And here I had a discovery unfolding in real time, right before my very eyes, where I was getting information on it as fast as anyone else not actually participating in the excavation itself! And of course, here on the local level there is the entire back story regarding my initial impression on it and the back-and-forth between myself and a certain prominent Youtuber in the Anglo-Nordic community; who seems like he could be a very interesting and informative chap if he could get over himself and his academic credentials long enough to have a conversation. I refrain from naming names, as he remains my favourite Youtuber among the handful of likely suspects — which I say with the caveat that I’m not at all too keen on the rest of them — but he knows who he is. And we do have mutuals. And of course, when you’ve been a part of the Anglo-Nordic (Heathen) community for as long as I have, ie. 30+ years, you just get tired of the consistent flow of desperate, insecure, and utterly effeminate drama that, collectively, has defined it since I first stepped in.


That said, it’s a funny story; which will no doubt bleed its way in to anything I write on this subject. And which I feel obliged to mention, at least in passing, because, well, as I suppose on immediate reflection, we apparently love our drama?

But on to the Thy figure itself…

Perhaps the first guess to be thrown out there on this find, and certainly the most interesting, was its striking resemblance to the Roman representation of their own native deity, Janus. His worship is believed to reach back to prior to the foundation of the Roman Republic (509 BC), and the earliest depictions (and all later ones) show him as doublefaced. He is believed to be uniquely Roman and — at least on the surface and to those unable to see the theme underlying various expressions/depictions — unknown to the Greeks; though both the Hindus and the Slavs did worship multifaced idols/gods.

In doing some cursory reading on Janus, I was immediately struck by his associations with the arch-way or door and all that implies in terms of liminality and duality, ie. beginnings, endings, cycle of the day and year, ie. passage of the sun, etc. He also apparently had an association with the dancing youths of the cult of Mars known as the Salii, themselves a descendant of the old Proto-Indo-European *koryos (adolescent males in training). As with Mars’ own offspring, the progenitors of Rome, Romulus and Remus, I would suggest that Janus represents an evolution of the “god-concept” embodied in the P.I.E. Divine Twins, who are also associated with youths, thresholds, liminality and duality.

That said, it is highly unlikely that the Roman Janus was at all an influence on the Thy figure, which itself predates not only the Roman Republic, but also Germanic-Roman contact (Negua helms, Cimbrian Wars, 2nd century BC) and the strong influx of Roman material goods that began soon after the time of Julius Caesar (1st century BC) by centuries. As such, it would be more plausible, if equally unlikely, to suggest that the Thy figure influenced the Roman Janus rather than vice verse.

Most likely the similarity is simply a matter of the spontaneous evolution of thought, belief and expression along similar lines, owing to a common Indo-European heritage, rather than the tired old matter of “who got what from whom?”.

Naturally, in considering both the Thy figure and Janus, the mind is drawn to the Old Germanic god, Tuisto, whose name is rooted in the concept of two, and who was mentioned as co-progenitor (alongside Mannus; see Yama and Manu in the Hindu tradition) of the Germanic peoples by Tacitus.

As for my own initial impressions…

Compare the horned helmets of this twinned figure (above) with the Vikso helmets (below). Also from the Nordic Bronze Age. And deposited as a pair.


Also compare with the Grevensvaenge figurine (below). It is also a product of the Nordic Bronze Age and was originally part of a large ensemble that included this figure’s twin; who would have knelt beside his brother in the ensemble.


And also compare with the Fogdarp yoke (below); which, you guessed it, is also from the Nordic Bronze Age. Note also, in comparison to the Vikso helms, they “youthful” eyes, and particularly the “beak” set between the eyes (ie. nasal region) of both.


These Lads were a big deal over the course of the Nordic Bronze Age. And indeed over the European Bronze Age in general.

They are perhaps best remembered in the Indo-European context as the Dioscuri, Castor and Pollux, but find parallels throughout the Indo-European world; most notably, outside of Anglo-Nordic belief itself, in Hinduism (Ashvins) and Baltic belief (Ašvieniai, Dieva deli).

That they maintained some degree of pan-Germanic prestige following the collapse of the Nordic Bronze Age (c.500 BC) into the early centuries of the Migration Age (beginning c.300 AD), can be inferred from the dual brother-kings found at the head of a number of tribes in migration, ie. liminality, the most famous of whom are the mytho-historical Hors and Hengist, who are said to have led the Anglo-Saxon invasion of Britannia.

One of the cool things about the Fogtdarp Lads — which, like all of these artifacts, I’ve never had the luxury to examine first person and only know through “display” type photographs, and so turned out to be quite the thrilling discovery, relating to some research I was doing at the time — is what you see from a birds eye look at them (below).



That is the Nordic Bronze Age “Axe of Heaven” symbol, which you can read more about here, and should keep in mind as very relevant as we progress.

Now it has been argued that, “The Grevensvaenge idols are twins, two separate entities, but the Thy figure is two-faced, so completely different.”, which, along with another criticism that I shall touch on later, represents analytical reductionism at its finest.

The fundamental idea expressed in the relationship of the Divine Twins can be perceived in the Baltic word *jumis*. This is the name that the Baltic peoples gave to their own version of the “horseheaded gables” — called “Hors and Hengist” by their Germanic neighbours in northern Germany — and its companion “runic” symbol. Not to mention one of their native divinities. The word jumis means “two grown together as one”. It is cognate to the Latin gemini — and the aforementioned Yama, twin of Manu — which was itself identified with Castor and Pollux by the Greeks.

And no, I don’t think that it is also cognate to the Old Icelandic Ymir, which, as far as the speakers of Old Icelandic were concerned meant “Noisemaker”, and within the Eddic context no doubt understood as “Bellower”.

The doublefaced Thy figure is an expression of the same notion, the same theme, that is the essence of the Divine Twins, and reflected not only by the twin idols of the Grevensvaenge ensemble, but also in the twin heads (common “body”) of the Fogtdarp yoke, and even centuries later on Gallehus horn B; where utilitarian half loops are found on both of the Lads depicted thereon, and via which a chain or leather string could be run to make a carrying strap, but which also expressed the fundamental unity of the two.

This of course also relates to the two-horsed chariot of the Indo-Europeans.

In Indo-European myth the essential unity of the Lads is perhaps best represented in Greek myth, in which Castor was mortally wounded, and so Zeus gave Pollux the option of sharing half his immortality with his brother; such that the two would spend half the year in Hades with each other, and half in Olympus with each other. This as opposed to Castor spending eternity in Hades, while Pollux would spend eternity in Olympus, ie. apart from each other.

Needless to say perhaps, Pollux chose to share his immortality with his twin brother.

Anyway, the Grevensvaenge figures, the Fogtdarp yoke, the Thy idol, the Gallehus horn twins, all different expressions of the same underlying theme, ie. of the Divine Twins.

Another criticism that came out,as alluded to above, was embodied in the question, “what do horns have to do with horse-gods???” Now, as an honest question, it is a very good question. After all, the association, like goats and thunder — or even poetry and immortality? lol — is not immediately self-evident or at all easy to explain. And yet, as a question meant only to derail, we have this image from a Minoan sarcophagi found on the isle of Crete and dated c.1,400 BC,


And it certainly does beg the question, what DO horns have to do with horses?

That is to say that, whether we appreciate or understand the association ourselves, the association is an observable fact. As such, like goats and thunder, the onus is on us to, first accept, and then, more poignantly, to understand.

Our lack of understanding does not invalidate the evident association.

And so, in answer to the question, “what do horns have to do with horses?” the answer is an obvious, “the Divine Twins. That is what horns have to do with horses.”

Within a couple weeks of the above mentioned criticisms the CT scan of the full find was released. Prior to this we saw the Thy figure itself along with an axe head embedded in the soil.


But with the CT scan, the question about horns and horse gods was brought to an abrupt end. And the exchange deleted.


And the CT scan was eventually followed by more pictures. Here’s one,


Hmmm. So what DO horns have to do with horse-gods? Or perhaps more accurately here, what do horses have to do with horned-gods? And axes to boot?

The sacral and hallowing power of the Alcis, the twinned sons of God and divine champions of Man. That is what horses, horns and axes all have to do with each other.

How did I know, prior to the CT scans? Well, how does anyone “get the joke” so to speak? Certainly not by reducing it to its component parts and analyzing them in isolation from one another or the larger context it exists in. In regards to humour, we have a word for that approach.


Suffice it to say that it wasn’t a lucky guess. Nor any presumption of “knowing it all” on my behalf; no matter how much “Wyrd” might have conspired to paint me as omniscient on this matter.

Reckon wisely, my friends! And hey, lets be whole out there!





Symbols of the Nordic Bronze Age


I’ve been researching and chewing on this symbol from the Nordic Bronze Age for a few months now. Prevailing popular opinion has it that the symbol is either a (magic) mushroom or is evidence of the Old Saxon “Irminsul-as-depicted-on-the-Externsteine”, and indeed my initial research was in part spurred by the latter notion.

As we have it, the symbol is present on less than a dozen Nordic Bronze Age rock-carvings and razor handles, but is nevertheless present enough and shows enough variance in depiction to see that it was known to many artists along the coasts of the old Ingvaeonic tribes.


It appears in different sizes and shapes, sometimes in the hand of an anthropomorphic figure, sometimes free standing, but always in association with the “solar ship”; where it can be found in various parts of the ship including in place of the prow and/or the rudder.


The Mushroom?

Regarding the notion that the symbol depicts a mushroom, I’ll simply quote Richard Rudgely on the matter of the mushroom in Germanic culture and belief,

“The vast amount of European folklore compiled by Wasson and his wife on the fly-agaric and other mushrooms indicates that in many areas of the Continent there were taboos in place against the use of certain fungi, suggesting an ancient ritual role for them. Despite the great efforts of the Wassons, neither archaeological sites nor archival materials have yielded up sufficient proof of such a cult”.

(The Encyclopedia of Psychoactive Substances)

The Irminsul?


The supposed “bent Irminsul” of the Externsteine relief

Regarding the notion that the symbol is a Nordic Bronze Age depiction of the Irminsul, and so validates the notion that it is the Old Saxon Irminsul that is depicted on the Externsteine; well, to start, at least 2,000 years separate the Nordic Bronze Age symbol from the Extersteine relief with little to no intervening evidence to suggest a continuous tradition of the symbols use.

I personally, in my 30 years as a Germanic Heathen, have never bought into the notion that this image depicted the Irminsul; which IMO would more likely have resembled a Slavic god-pole or a Roman Jupiter column. The image on the Extersteine is simply “out of place” in the broad spectrum of Germanic symbolism; though admittedly the Nordic Bronze Age symbol might give one pause to wonder.

At this point, it would suffice to say that my opinion of the Extersteine image is that, whatever the “bent palm-tree” was meant to depict, ie. the Saxon Irminsul for example, that the actual Saxon Irminsul that was cut down by Charlemagne did not look like this image. People can of course fill a symbol with whatever content they want, regardless of it’s “original content”, and that is fine and dandy, but in terms of education there is always the matter of integrity.

So what then?

As alluded to above, symbols have little to no inherent meaning, and rely on culture and context to give them content. It is not enough to ask what does this symbol mean to me, or us here today? Nor even what might it have meant to a 10th century Saxon monk. A Bronze Age symbol must be understood within the context of the Bronze Age, which of course leaves us at a severe disadvantage as we are limited solely to the physical/archaeological record for anything even vaguely resembling a first hand reckoning of Nordic Bronze Age culture; though we do have the broader context of Proto-Indo-European ancestry and better represented Bronze Age relations to make up for this lack.

We might also care to remember that symbols can “layer” meaning in culturally idiosyncratic ways that allow for (and even encourage) a range of interpretations. They are not the product of analytical reductionist thought, but of a more expansive and poetic form of thinking.

Before looking at the evidence of the Nordic Bronze Age itself, we might take a gander at their Neolithic ancestors and Bronze Age relations, for any light these cultures might hope to shed on the matter.

The following images (below) were found etched into the rocks that make up the solar megalith of Stonehenge. They are believed to have been put there in the Bronze Age, long after Stonehenge’s construction, and are commonly regarded as upward turned axe-heads of the variety common to Bronze Age Britain; who’s people were of both Proto-Indo-European stock and engaged in trade with southern Scandinavia over the course of the Nordic Bronze Age.


The axe, particularly the double-headed ax or labrys, was also a prominent symbol among the Mycenaeans and Minoans; the former of whom, like the Celts of Bronze Age Britain, shared both a common Proto-Indo-European and carried on trade with the folk of the Nordic Bronze Age. Here we find the labrys depicted between the “horns of the Minoan bull” … otherwise known as the “horns of consecration”,


If I understand it correctly, it would only be later in hidyotu that the labrys would also take on an association with the lily, ie. layered meaning, depictions of which bare an even stronger resemblance to our Nordic Bronze Age symbol. Also, both axe and lily are often accompanied by solar imagery, not unlike the presence of the axe-head on the “solar symbol” that is Stonehenge itself.


What relation our Nordic Bronze Age symbol might have to the Minoan lily is a line of research that will have to wait for another time and/or person. From here on I will focus on it’s relation to the axe.

It is a curious fact that the evolution of Nordic Bronze Age culture began with the arrival of, not simply that culture dubbed the “Battle Axe People” in southern Scandinavia, but rather of a sub-category of that culture known as the “Boat-Axe People” in the late Neolithic era. These people were called so as a result of the boat-like shape of the axe-heads they produced. The relationship of the axe to the boat is of course inherent; as trees were felled and boats shaped via the use of axes and axe-head-like tools.

Curiously, examples of our Nordic Bronze Age symbol always occur in direct relation to the boat, and often in relation to solar imagery (other than the boat itself).


boat-axe head

In the late Neolithic era the tribes of southern Scandinavia also wore axe-heads made amber as ornamentation; or perhaps (more likely?) as charms similar to the much later “Donar’s Cudgel” and “ThorR’s Hammer”.

Note the double-headed axe head in the image below. Despite the prominence of the labrys among the Mycenae, we don’t find these during the Nordic Bronze Age. We do however find plenty of dual imagery, axes being no exception, in both the art and deposits of the Nordic Bronze Age, much of which is associated with the cult of the Sun and her brothers, the Divine Twins.


Following this trail on into the Nordic Bronze Age itself, one cannot help but be immediately struck by the similarity of our subject symbol to this ceremonial axe-head. I’ve rotated the image for ease of comparison.


Excessively large axe-heads, far bigger than would be at all practical for combat, and so which are believed to have had a ceremonial purpose, not unlike the Minoan labrys, have in fact been unearthed in Scandinavia; thus confirming such rock carvings as the following,


We again see a reflection of our subject symbol (below) in one of the very peculiar, ie. stylistically, Kivik stones ( c.1,000 B.C.), where we find what appears to be twin axe-heads depicted in association with the sun-wheel.


These two youths (below), the Divine Twins, are found on the Fogtdarp yoke. A direct comparison can be drawn between them, the twin Grevensvaenge figurines and the Vikso helmets. They are all from the Nordic Bronze Age.


In Kristian Kristiansen and Thomas B. Larsson’s excellent work, “The Rise of the Bronze Age Society”, a bird’s eye view is provided of the top of their helmets (below), where we find our subject symbol set between the horns of their helmet and mention is made of it’s Mycenaean parallel in the labrys set betwixt the horns of the bull.


Our next image is a drawing of the Nordic Bronze Age’s Grevensvaenge twins; yet another Nordic Bronze Age depiction of the “Divine Twins” as seen in the rock art and testified to in the dual or twinned offerings — of axes, swords, lur horns — of the era. The basic idea of these brothers is expressed in the Latvian word jumis meaning “two grown together as one” … each holding a half of the elder double-headed axe?


When thought of in terms of the concept of jumis, one might also note the ceremonial swords of the Nordic Bronze Age, deposited as pairs, with curling tips quite reminiscent of our subject symbol when taken together as a whole.


While best represented in Migration and post-Migration Age lore as the sons of Woden, the Divine Twins are more roundly remembered in the broader Indo-European context as the offspring of the Skyfather (Zeus, Dyaus, Dievas, etc), who’s name and attributes are reflected in the Germanic Tiwaz (Tiw, Zio, TyR, etc.). It is at least curious to note the shape of his rune-stave (below) in the elder futhark in relation to our subject symbol.


While the etymology of the Germanic word heaven is open to debate, it is interesting in this context to note that Watkins “derives it elaborately from PIE *ak- “sharp” via *akman- “stone, sharp stone,” then “stony vault of heaven.” (Online Etymology Dictionary). We are reminded at once of the characteristic Proto-Indo-European stone battle axe, and of course of the stony skull of Ymir from Viking Age Nordic myth, where it was said to be used to form the roof of the heavens. In Greek legend the stony skull of Atlas comes to form of the mountain summit; while Indo-Iranian myth also (more loosely) associates the skull with the heavens and the divine.

Anyway, this same P.I.E. root (also) yields the Proto-Germanic *hamaraz (hammer) and various other Indo-European words with a range of meanings that include “anvil, pestle, battering ram” (Greek), “stone, hammer, thunderbolt” (Sanskrit), “sky, heaven” (Persian).

This of course calls to mind the famous hammer of the Viking Age North Germanic peoples. Rotated (below) for ease of reference, of course. It is worth noting that the Balto-Slavic Thunderer, Perun to use the Slavic, plays a strong role in their solar mythology. Their names are suspected to be etymologically related to the Old Norse Fjorgyn (fem.) and Fjorgynn (masc.), the former of whom is said to be the mother of Thunor (Donar, ThorR) in the Eddic myths. I interpret this as the seemingly obvious; that Thunor is the uniquely Germanic heir to the older “Fjorgynn”.

Whatever the case, Thunor is one of the very few deities who are portrayed as driving the patently anachronistic (sun) chariot. The other chariot-drivers of Eddic myth are Freo (Freyja) — who shares solar associations, indirectly, via her (twin) brother Ingui-Frea (FreyR) and the pig — and of course the “time-keeping deities” so central to the “sun-cult” (Sun, Moon, Day, Night). It is also Thunor who was believed to force the Wulf to disgorge the Sun during a solar eclipse, while his wife, Sif, is said to have had hair as brilliant as gold.


All-in-all, it would seem that our subject symbol was related to such notions as heavenly authority, hollowing power, and protection.

Certainly, there is no way of knowing, positively, what the symbol might have meant, let alone the extent of it’s meaning. And to some this might strike one as due leave to consider all opinions to be equally valid. Of course, with due respect to the theory of it all, I will say this … it was educated guessing, and not idle speculation (or absolute certainty), that put mankind on the moon.

Reckon wisely, my friends!

The Alcis: the Divine Twins Among the Germanic Peoples

The Alcis are a pair of twin brother gods that were worshiped among the early Germanic peoples. They are first mentioned in Cornelius Tacitus’ 1st century work Germania, where he writes,

The Naharvali proudly point out a grove associated with an ancient worship. The presiding priest dresses like a woman; but the deities are said to be the counterpart of our Castor and Pollux. This indicates their character, but their name is the Alcis. There are no images, and nothing to suggest that the cult is of foreign origin; but they are certainly worshiped as young men and as brothers.

(Note: exactly what “dresses like a woman” meant is open to debate, ie. Roman filter)

The early comparison here between the Germanic Alcis and the Hellenic Dioscuri, ie. Castor and Pollux, is of course no idle one as modern Indo-European studies prove. The “Divine Twins” are believed to be very ancient, forming part of the original Proto-Indo-European religion (4th millennium Before Common Era) and remembered in their descendant cultures as, not only the Germanic Alcis and Hellenic Dioscuri (sons of God), but also as the Vedic Ashvins, the Lithuanian Asvieniai (cognate to Ashvins), the Latvian Dieva Deli (sons of God), etc. The name Alcis itself is of obscure etymology. Some link it to the word elk, while others (more insightfully IMO) link it to a group of words springing from the Proto-Indo-European *alk-, and the ideas of “sacred space” (eg. Old English – ealh) and “protection” (Old English – ealgian).

One of the most enduring features of the Divine Twins is their association with the sun-goddess, and centuries before Tacitus we find “them” depicted on the rock-art of the Nordic Bronze Age (1,800 BCE to 500 BCE).


We likewise have them depicted in two of the Grevensvaenge figurines which date from the late Nordic Bronze Age.


Other parts of the “ensemble” have since been lost but were sketched by the original archaeologists upon or soon after discovery. Here is the sketch …


Based upon such rock carvings as this (note the “acrobat”(?) above the boat) …


… some believe that the original Grevensvaenge ensemble might have looked something like this …


This age also witnessed numerous paired sacrifices of lur-horns, battle axes horned helmets, etc.


As shown within the greater Indo-European context, the Divine Twins are depicted either as youths and brothers, or as horses … or even as horseheaded brothers in Vedic myth! Tacitus further comments in Germania, “They like the old and well-known money, coins milled, or showing a two-horse chariot.”


This draws our mind back to the famous “Trundholm Sun Chariot” of the Nordic Bronze Age (image below). It’s wheels are functional and it is believed that it’s brightside represented the sun being drawn through the heavens east to west, while it’s “darkside” represented movement through the underworld and a west to east movement.


The connection of the Alcis with horses and chariots, their closeness to mankind, highlights another observation noted by Tacitus regarding the Germanic tribes,

“It is peculiar to this people to seek omens and monitions from horses. Kept at the public expense, in these same woods and groves, are white horses, pure from the taint of earthly labour; these are yoked to a sacred cart, and accompanied by the priest and the king, or chief of the tribe, who note their neighings and snortings. No species of augury is more trusted, not only by the people and by the nobility, but also by the priests, who regard themselves as the ministers of the gods, and the horses as acquainted with their will.”

We also find this interesting piece of lore as Tacitus ties up his survey of Germania,

“Beyond the Suiones (the Swedes) we find another sea, sluggish and almost stagnant. This sea is believed to be the boundary that girdles the earth because the last radiance of the setting sun lingers on here till dawn, with a brilliance that dims the stars. Popular belfef adds that you can hear the sound he makes as he rises from the waves and can see the shape of his horses and the rays on his head.”

The following image (below) is of the Alcis as depicted on Gallehus horn B (Denmark, 5th century CE). The horn was most likely used for ceremonial libations, and a chain would have originally linked the two brothers together, in a manner reminiscent of the dokana (or even chariot horses!). The dokana was the “cultic symbol” of the Divine Twins among the Graeco-Romans; two upright beams linked by two parallel beams. This represents the essential unity of the two.


Among the Spartans, the Dioscuri were associated with the custom of dual kingship, the rule of brothers. As one went on campaigns, the other would remain to uphold the tribe. Mention of the custom of dual kingship among the Germanic tribes comes as early as Tacitus, and continued well into the Migration Age; a warrior-king and a priest-king. While there are many examples of dual kingships among the early Germanic peoples, the leaders of the Anglo-Saxon invasion of Britannia stand out as archetypcal, in that their names are Hors and Hengist … both of which are words for horse in Old English. Keep them in mind. Here is a depiction of the Divine Twins in Anglo-Saxon art (below). Note their horned helms with a mind toward their Bronze Age depictions.


While belief in the Alcis may have reached it’s height over the course of the Nordic Bronze Age, the commentary of Tacitus and such examples of Anglo-Saxon art as the above show that, in some manner, the belief nevertheless persisted over the Iron Age and into the Migration Age. In fact, it did not stop there.

The image that follows (below) shows a twin horse “pendant”(?) found in the temple area of the early Viking Age settlement of Tisso, Denmark. Incidentally, the name Tisso means Tyr’s Lake … while the name Tyr means God (rooted in the idea of the radiant heavens) and is cognate to such other Indo-European god-names as the Sanskrit Dyaus, the Greek Zeus, Latin Jupiter, Lithunian Dievas, etc. It is seen in both Dioscuri (Sons of God/Zeus) and Dieva Deli (Sons of God), the Proto-Germanic form of which would have been the pluralized version of Jacob Grimm’s reconstructed *Tiwisko (Son of Tiw, Tyr).

alcis divine twins

Here is another Viking Age artifact from Bornholm, Denmark …


And here is a reproduction of a 11th century Rus find …


One might even see some memory of the Alcis in the Ales Stenar of early Viking Age Sweden; which was oriented for the winter solstice and who’s customary name might indeed be related to the aforementioned alhs.

Not surprisingly perhaps, the memory of the Alcis endured in the surviving mythology of the North Germanic tribes, the Eddas, where we read “Up shall rise All-Swift and Early-Awake, hungry, to haul the Sun” and “But the gods became wroth at this arrogance, took both the brother and the sister, set them up in heaven, and made Sun drive the horses that draw the car of the sun … <snip> … these horses hight Arvak (Early Awake) and Alsvid (All-swift). Under their withers the gods placed two wind-bags to cool them


Havor, Gotland

They are also remembered in North Germanic myth as Skinfaxi (Shining Mane) and Hrimfaxi (Frosty Mane), the horses that pull the chariots of Day and Night. In this we find a memory of the notion that one brother was (originally) mortal and the other immortal, and that they spend equal time in the heavens and in the underworld … not to mention the notion allegedly behind the Trundholm Chariot, where one horse-brother carries the sun through the heavens from day break, and the other takes over at nightfall to draw the sun through the underworld.

The Divine Twins are remembered as threshold guardians. As mentioned above, the very name Alcis is thought to go back to a root meaning “protection”, and particularly in regards to “sacred space”. It seems quite likely that this “threshold into the sacred” is what is behind the kenning “Delling’s Door” in the Eddaic myths. This association with thresholds is preserved in the horseheaded gables found in the architecture of Northern Germany and the Baltic coast. In Northern Germany these gables were referred to as “Hors and Hengist” up until the 19th century.


And this custom of looking to the Alcis to ward the sanctity of either temple or home continued on unto this day in the form of the horseshoe hung above the door; which parallels the NW European nautical custom of nailing a horseshoe to the main mast of a ship for protection and the ancient and enduring association of the Divine Twins as the protector of sailors, eg. Saint Elmo’s fire.