Exploring the Tales of a Viking Warrior in Scandinavian Silver

Who was Ragnar Lodbrok?

By Ann Glasscock, Associate Curator
Henrik Møller (Danish, 1822–1884), Tureen with the Legend of Ragnar Lodbrok, detail, 1906, silver, 15 1/2 x 13 in. diam. Collection of David and Susan Werner, Courtesy of The Frick Pittsburgh

Henrik Møller, a skilled goldsmith, was one of the foremost proponents of the Norse-revival Dragon Style. His creations feature strange beasts, mythical figures, and intricate patterns, often accompanied by rune-like texts. Møller showed his work at major expositions and catered to a wealthy cosmopolitan clientele. One of his standout creations is this silver tureen that tells the tale of Ragnar Lodbrok, a legendary Viking king and hero. His exploits unfold across the surface, from his complicated courtship with his wife Áslaug to his dramatic death in a snake pit.

 

A Viking tale with enchanted clothing, a giant mythological serpent, AND a snake pit? Sounds intriguing! As a silver specialist, I was immediately drawn to the Tureen with the Legend of Ragnar Lodbrok featured in the Taft’s exhibition The Scandinavian Home: Landscape and Lore. Unfamiliar with Ragnar’s story, however, I had a few questions.

Who was Ragnar Lodbrok?

According to legend, Ragnar, the son of a Swedish king and a Norwegian princess, was a Viking. These seafaring warriors raided Europe from the 9th to the 11th century.

What creatures form the tureen’s extravagant handles, and what do they have to do with Ragnar’s story?

These giant slithering serpents are likely lindworms. Ragnar’s second wife Thora received one as a gift from her father. It guarded her bedchamber, threatening anyone who came close (except for her attendants, who had to feed it an ox every day!). Thora’s father promised his daughter to the first man who could kill the lindworm. Ragnar took action, donning a pair of protective breeches made from animal pelts coated with tar and sand. He succeeded in killing the serpent, and his furry attire earned him the name Lodbrok, meaning “hairy breeches.” Unfortunately, Ragnar’s marriage to Thora was cut short by her death. Afterward, he sailed to Norway, where he met his third wife, Áslaug.

Figure 1
Figure 2: Example of a lindworm from "The Maiden in the Castle of Rosy Clouds," 1911, by John Bauer (Swedish, 1882–1918)
Figure 3

How did Ragnar meet Áslaug?

Áslaug was the daughter of a dragon-slaying king and a shieldmaiden. Sadly, her parents were killed when she was young. To protect her true identity, her caretakers raised her as a peasant, rather than the noblewoman she was. One day, Ragnar’s crew saw Áslaug bathing and told him of her beauty. Ragnar, wishing to meet her, also wanted to see how clever she was, so he presented her with a riddle. She was to arrive neither dressed nor undressed, neither hungry nor full, and neither alone nor in company. As seen on the tureen, Áslaug approaches Ragnar wearing a long fishing net, biting an onion, and with a dog by her side. Impressed by her witty response, he asked for her hand in marriage.

Figure 4

Why does Áslaug look so forlorn?

Ragnar visited King Eysteinn of Sweden, who offered him his daughter Ingeborg’s hand in marriage. Despite Ragnar’s commitment to Áslaug, he was tempted by the idea of marrying a noblewoman, and he and the Swedish princess became engaged. (Remember, Ragnar thought Áslaug was a peasant.) In figure 4, three birds tell Áslaug about the betrothal. To prove her noble status to Ragnar, Áslaug predicted she would bear a son marked with the image of a snake. When Sigurd Snake-in-the-Eye was born, Ragnar ended his betrothal to Eysteinn's daughter. Then, after a series of unfortunate events, King Eysteinn died at Áslaug’s behest.

Figure 5

Snakes coil around a man’s body! Who is it?

One year, Ragnar sailed to England to wage war on King Ælla of Northumbria, who instead captured him and had him thrown into a snake pit. However, Ragnar was wearing an enchanted silk shirt that Áslaug had made for him that could not be pierced. Seeing that the snakes were not biting him, the king’s men removed Ragnar’s clothes, leading to his death.

Figure 6

What are these men doing?

After Ragnar’s death, his sons sought revenge against King Ælla. Eventually, Ragnar’s son Ivar the Boneless proposed a compromise. They would stop fighting if the king gave them a parcel of land that could be covered by an ox’s hide. Ælla agreed, unaware that Ivar had tricked him. Ivar cut the ox hide into strips so thin that he was able to cover an area the size of a small kingdom. He used this land to amass an army, ensuring his victory against Ælla and avenging his father’s death.

See this fascinating tureen in The Scandinavian Home: Landscape and Lore, which is open until September 20, 2026!


A Journey to Conservation: In Conversation with Frederick A. Wallace, 1995 Duncanson Artist-in-Residence

26 August 2026

In 1995, Frederick A. Wallace, conservator, was named the 9th Duncanson Artist-in-Residence at the Taft Museum of Art. But what was his journey to the world of art like, and how did he become a conservator? In this interview, Jae Washington of Cincinnati's Conscience sits down with Wallace to discuss how conservation impacted his career and creative process, and some of his favorite things in Cincinnati.

How Does a Conservator Help Tell an Object’s Story? Unveiling the Beauty of European Fans

24 August 2026

In preparation for the exhibition "Unfolding Elegance: European Fans from the Taft Collection", objects conservator Betsy Allaire spent over a year documenting, researching, and treating the Taft Museum of Art’s fans. Thanks to Allaire, we have a better understanding of what these works of art looked like when they were first made around 300 years ago, having devoted countless hours addressing areas of loss, reducing surface grime, and tending to repairs old and new. Learn more about the complex techniques, processes, and materials she worked with through this project!

Ancestral Serendipity: In Conversation with Ayana Ross

07 July 2026

Seeking to celebrate, preserve, and contextualize the stories and histories she loves, 2026 Duncanson Artist-in-Residence and visual artist Ayana Ross uses paintings as a means to do so with love and craft. In this interview with Jae Washington from Cincinnati's Conscience, Ross explores her personal history, familial histories, the serendipity of the Duncanson Program finding her, and the ways these all align.

Scroll to top