#grundtvigs

[emvisual]

Esta es la Grundtvigs kirke, en Copenhague. para su construcción se utilizaron 6 millones de ladrillos amarillos. Tan minimalista como todo lo que hacen los daneses. Un edificio espectacular.

[thingsdavidlikes]

41,612 by lishengo

[escapismsworld]

Grundtvigs Kirke, located in Copenhagen, Denmark, is a renowned neo-Gothic church designed by architect Peder Vilhelm Jensen-Klint in 1921. This architectural masterpiece, named after philosopher N.F.S. Grundtvig, boasts impressive vaulted ceilings and stunning stained glass windows. It's a must-visit landmark for those interested in history and architecture in Copenhagen.

📸: Jenny Olsson

[noconcessions]

[beyourselfchulanmaria]

Grundtvig’s Church

The monumental church, constructed by Peder Vilhelm Jensen-Klint in Copenhagen—in honor of N. F. S. Grundtvig.

[tilbageidanmark]

כנסיית גרונדטוויג

[dlyarchitecture]

[formlab]

Grundtvigs kirke, P.V. Jensen Klint, 1921-40

[anmaje]

I work in the local church choir, even the old-ass hymns are about them

you know you're fucked when WORSHIP SONGS are about them

[germanpostwarmodern]

Grundtvigs Church (1921-40) in Copenhagen, Denmark, by P.V. Jensen-Klint

[seasoflife]

Grundtvig's Church

Timothee Damas

seasoflife

[35mmproject]

Grundtvig's Church, Copenhagen

[Check out our vintage photography store on Redbubble]

[nitw]

grundtvigs church, københavn ^^

[zspin]

Kim Høltermand. From the series ‘Grundtvigs Church’ (2009).

[haljathefangirlcat]

Some more character backstory speculation in the Volsung-Nibelung-Dietrich cycle. Sigurd/Siegfried spends his childhood in the woods under the watch of Mime/Regin the dwarven smith in all versions of his story except for the Nibelungenlied itself, which goes out of its way to make Siegfried RESPECTABLE. Even in the Scandinavian material, which presents him having two living parent figures and a grandparent (Hjordis, Alf, and Hjalprek), he still gets fostered and tutored by Mime. Though he does keep in contact with his family, as he says he's used to getting anything he asks for from them. His childhood with Regin makes sense in the versions where he's a foundling, but it seems a little weird for his family to hand him off to Regin of all people for his upbringing. Svend Grundtvig discusses the theory that Regin related to Hjordis through his sister Lofnheid, which would provide some reasoning for choosing Regin, but Reginsmal darts between the origin of the hoard to Sigurd meeting with Odin on his quest for vengeance, so it's hard to figure out what's going on. What do you think is the in-universe rationale for Regin being chosen as Sigurd's foster-father?

"[...] except for the Nibelungenlied itself, which goes out of its way to make Siegfried RESPECTABLE."

I kinda love how you phrased that because it immediately made me think back to Lang's movies, which generally stick close to the Nibelungenlied but still have Siegfried be fostered by and learn to forge metal from Mime -- so much for all efforts at respectability! XD

As for me, I like Regin being related to Hjordis. I think it makes sense, especially as Hjordis' side of the family seems to already have some pretty strange male figures on it (hello, Gripir!), I like how it neatly ties up the Volsungs' supernatural weirdness with the (back)story of the cursed gold, and I feel there's some good potential drama fuel in it. (Not to sound like a broken record -- tho I probably do, lol -- but Stephan Grundy uses the Regin - Lofnheid - Hjordis connection in his books, and I really enjoy both his take on Hreidmar's family and its ramifications through the later events of the story.)

However, it doesn't quite feel necessary to me. Part of it is that Volundr/Weland, too, gets a "taught by dwarves" story, and while the guy's admittedly the Master Smith and sometimes a giant/elf/other supernatural being himself, that sort of takes the edge off Sigurd's upbringing for me, making it, in my view, just a Weird Thing That Happens To Heroes Because They're Built Differently (And Sometimes Get A Little Too Close To The Borders Between Human & Non-Human) and something Hjordis and the rest of the family might have agreed to, even if with some reluctance/wariness, after noticing the kid wasn't exactly your average boy and needed something to balance off the otherwise all-human normalcy of his life.

Another part is that, a couple of years ago, I was trying to find out more about smiths in Norse and Germanic society. Unfortunately, nothing specific's coming to mind rn, only some vague recollections, but I remember reading about a seeming discrepancy between literary smiths appearing as isolated, mysterious, often not-quite-human figures and historical wealthy, well-respected smiths who were actually probably very socially active and connected to their communities. (Obviously, there was more to it, and I doubt the whole story was as straight-forward as I'm making it sound rn, with every literary smith fitting in a box and every historical smith fitting in the other, but again, this isn't all exactly so fresh in my memory.) So, I think it'd be kind of sweet for the adults in Sigurd's life to encourage him to pursue an interest that couldturn out to be very advantageous for him in the future in both a pratical, know-how sense and by giving him a possible new way to connect and work with other people with ease. Even if I do see Regin as a bit of a recluse himself, given his own history... XD But, hey, it's not like Regin's personality would necessarily rub off on Sigurd as he teaches him, right?

[hapalopus]

Valravnen is less of a vættr and more of a fairytale creature. It's only known from medieval folk songs, and only from Denmark.

Valravnen shows up in two folk songs: The appropriately titled "Valravnen" and a version of "Germand Gladensvend," where Gammen is replaced by Valravnen. In the self-titled song, valravnen is a human who has been cursed to become a bird (sometimes a raven, sometimes an eagle) and is only returned to his human body when he drinks the blood of a baby. In Germand Gladensvend, valravnen is a monstrous bird who helps the main characters, but asks for their first-born in return, whom he then eats - he is, however, killed by the child's mother before it is revealed why he ate the child.

Even in the song commonly known as "Valravnen," this word only shows up in two of the nine versions of the song. In the other versions, the character is referred to as Wild Raven, Salmand Raven, or Verner Raven (Salmand and Verner being human names).

According to folklorists Holbek & Piø, "valravn" (battlefield raven) is not the original name for this figure, but is instead a misunderstanding of the more prevalent name "vilde ravn" (wild raven), as the figure never appears to have had anything to do with the battlefield, and "wild raven" is a far more common moniker in medieval sources.

However, during the early-1800s nationalistic romanticist wave, poet Adam Oehlenschläger showed a clear preference for the name "valravn" and chose to exclusively use that name in his reworkings of the folksongs. By the time folklorist Svend Grundtvig started his work, by the mid-1800s, "valravn" had overtaken the earlier "vilde ravn" name in popularity.

It is Holbek & Piø's opinion that valravnen is closely related to the werewolf, since they're both transformed humans who can be freed by drinking the blood of an infant, a belief that seems exclusive to Southern Scandinavia.

According to some modern authors, valravnen is a raven that haunts the battlefield, but I have not been able to trace back the origins of this belief. It seems fairly recent, and appears to be a result of the creature's name, more than its actual folkloric presence.

The heraldic combination of a wolf and a raven has been referred to as a valravn. This has seemingly nothing to do with the folkloric valravn, just as a heraldic antelope has nothing to do with a real life antelope. It does lend some credence to the idea that the valravn and the werewolf are related, though. The werewolf is also rarely described as "varulv" in folk songs, but is more often described as "vilde ulv" (wild wolf) or "grå ulv" (grey wolf).

Sources:

Holbek & Piø (1967) "Fabeldyr og Sagnfolk"

Poul Lorenzen (1960) "Vilde Fugle i Sagn og Tro"