Dendera zodiac of the late Ptolemaic period

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The sculptured Dendera zodiac (or Denderah zodiac) is a widely known Egyptian bas-relief from the ceiling of the pronaos (or portico) of a chapel dedicated to Osiris in the Hathor temple at Dendera, containing images of Taurus (the bull) and the Libra (the scales). This chapel was begun in the late Ptolemaic period; its pronaos was added by the emperor Tiberius. This led Jean-François Champollion to date the relief correctly to the Greco-Roman period, but most of his contemporaries believed it to be of the New Kingdom. The relief, which John H. Rogers characterized as "the only complete map that we have of an ancient sky", has been conjectured to represent the basis on which later astronomy systems were based. It is now on display at the Musée du Louvre, Paris.

Discription

The zodiac is a planisphere or map of the stars on a plane projection, showing the 12 constellations of the zodiacal band forming 36 decansof ten days each, and the planets. These decans are groups of first-magnitude stars. These were used in the ancient Egyptian calendar, which was based on lunar cycles of around 30 days and on the heliacal rising of the star Sothis (Sirius).

Its representation of the zodiac in circular form is unique in ancient Egyptian art. More typical are the rectangular zodiacs which decorate the same temple's pronaos.

The celestial arch is represented by a disc held up by four pillars of the sky in the form of women, between which are inserted falcon-headed spirits. On the first ring 36 spirits symbolize the 360 days of the Egyptian year.

On an inner circle, one finds constellations, showing the signs of the zodiac. Some of these are represented in the same Greco-Roman iconographic forms as their familiar counterparts (e.g. the Ram, Taurus, Scorpio, and Capricorn, albeit most in odd orientations in comparison to the conventions of ancient Greece and later Arabic-Western developments), whilst others are shown in a more Egyptian form: Aquariusis represented as the flood god Hapy, holding two vases which gush water. Rogers noted the similarities of unfamiliar iconologywith the three surviving tablets of a "Seleucid zodiac" and both relating to kudurru, "boundary-stone" representations: in short, Rogers sees the Dendera zodiac as "a complete copy of the Mesopotamian zodiac".

History

During the Napoleonic campaign in Egypt, Vivant Denon drew the circular zodiac, the more widely known one, and the rectangular zodiacs. In 1802, after the Napoleonic expedition, Denon published engravings of the temple ceiling in his Voyage dans la Basse et la Haute Egypte. These elicited a controversy as to the age of the zodiac representation, ranging from tens of thousands to a thousand years to a few hundred, and whether the zodiac was a planisphere or an astrological chart. Sébastien Louis Saulnier, an antique dealer, commissioned Claude Lelorrain to remove the circular zodiac with saws, jacks, scissors and gunpowder. The zodiac ceiling was moved in 1821 to Restoration Paris and, by 1822, was installed by Louis XVIII in the Royal Library (later called the National Library of France). In 1922, the zodiac moved from there to the Louvre.

The "Dendera Affair"

The controversy around the zodiac, called the "Dendera Affair", involved people of the likes of Joseph Fourier (who estimated that the age was 2500 BC). Champollion, among others, believed that it was a religious zodiac. Champollion placed the zodiac in fourth century AD. Georges Cuvier placed the date 123 AD to 147 AD. His discussion of the dating question is an interesting summary of the reasoning as he understood it in the 1820s.

History of the Sphinx

An early Egyptian sphinx, Queen Hetepheres II from the fourth dynasty (Cairo Museum).

A sphinx (Ancient Greek: Σφίγξ [spʰíŋks], Boeotian: Φίξ [pʰíːks], plural sphinxes or sphinges) is a mythical creature with the head of a human and the body of a lion.

In Greek tradition, it has the head of a human, the haunches of a lion, and sometimes the wings of a bird. It is mythicised as treacherous and merciless. Those who cannot answer its riddle suffer a fate typical in such mythological stories, as they are killed and eaten by this ravenous monster. This deadly version of a sphinx appears in the myth and drama of Oedipus. Unlike the Greek sphinx, which was a woman, the Egyptian sphinx is typically shown as a man (an androsphinx). In addition, the Egyptian sphinx was viewed as benevolent, but having a ferocious strength similar to the malevolent Greek version and both were thought of as guardians often flanking the entrances to temples.

In European decorative art, the sphinx enjoyed a major revival during the Renaissance. Later, the sphinx image, something very similar to the original Ancient Egyptian concept, was exported into many other cultures, albeit often interpreted quite differently due to translations of descriptions of the originals and the evolution of the concept in relation to other cultural traditions.

Sphinxes are generally associated with architectural structures such as royal tombs or religious temples. The oldest known sphinx was found near Gobekli Tepe at another site, Nevali Çori, or possibly 195 kilometres (120 mi) to the east at Kortik Tepe, Turkey, and was dated to 9,500 BCE.

Egyptian sphinxes

Great Sphinx before clearance, Brooklyn Museum Archives

Back of Sphinx, Giza Egypt

The largest and most famous sphinx is the Great Sphinx of Giza, situated on the Giza Plateau adjacent to the Great Pyramids of Giza on the west bank of the Nile River and facing east (29°58′31″N 31°08′15″E). The sphinx is located southeast of the pyramids. Although the date of its construction is uncertain, the head of the Great Sphinx now is believed to be that of the pharaoh Khafra.

What names their builders gave to these statues is not known. At the Great Sphinx site, a 1400 BCE inscription on a stele belonging to the 18th dynasty pharaoh Thutmose IV lists the names of three aspects of the local sun deity of that period, Khepera–Rê–Atum. The inclusion of these figures in tomb and temple complexes quickly became traditional and many pharaohs had their heads carved atop the guardian statues for their tombs to show their close relationship with the powerful solar deity, Sekhmet, a lioness. Other famous Egyptian sphinxes include one bearing the head of the pharaoh Hatshepsut, with her likeness carved in granite, which is now in the Metropolitan Museum of Art in New York, and the alabaster sphinx of Memphis, Memphis, Egypt, currently located within the open-air museum at that site. The theme was expanded to form great avenues of guardian sphinxes lining the approaches to tombs and temples as well as serving as details atop the posts of flights of stairs to very grand complexes. Nine hundred with ram heads, representing Amon, were built in Thebes, where his cult was strongest.

The Great Sphinx has become an emblem of Egypt, frequently appearing on its stamps, coins, and official documents.

Greek traditions

Classical Greek sphinx in the Corinth Archaeological Museum

From the Bronze Age, the Hellenes had trade and cultural contacts with Egypt. Before the time that Alexander the Great occupied Egypt, the Greek name, sphinx, was already applied to these statues. The historians and geographers of Greece wrote extensively about Egyptian culture. Herodotuscalled the ram-headed sphinxes Criosphinxes and called the hawk-headed ones Hieracosphinxes.

The word sphinx comes from the Greek Σφίγξ, apparently from the verb σφίγγω (sphíngō), meaning "to squeeze", "to tighten up". This name may be derived from the fact that the hunters for a pride of lions are the lionesses, and kill their prey by strangulation, biting the throat of prey and holding them down until they die. However, the historian Susan Wise Bauer suggests that the word "sphinx" was instead a Greek corruption of the Egyptian name "shesepankh", which meant "living image", and referred rather to the statue of the sphinx, which was carved out of "living rock" (rock that was present at the construction site, not harvested and brought from another location), than to the beast itself.

There was a single sphinx in Greek mythology, a unique demon of destruction and bad luck. According to Hesiod, she was a daughter of Orthrus and either Echidna or the Chimera, or perhaps even Ceto; according to others, she was a daughter of Echidna and Typhon. All of these are chthonic figures from the earliest of Greek myths, before the Olympians ruled the Greek pantheon. The Sphinx is called Phix (Φίξ) by Hesiod in line 326 of the Theogony, the proper name for the Sphinx noted by Pierre Grimal's The Penguin Dictionary of Classical Mythology.

In Greek mythology, a sphinx is represented as a monster with a head of a woman, the body of a lioness, the wings of an eagle, and a serpent-headed tail.

The sphinx was the emblem of the ancient city-state of Chios, and appeared on seals and the obverse side of coins from the 6th century BCE until the 3rd century CE.

The Riddle of the Sphinx

Marble Sphinx, dated 540 BCE, in the Acropolis Museum, Athens

The Sphinx is said to have guarded the entrance to the Greek city of Thebes, and to have asked a riddle of travellers to allow them passage. The exact riddle asked by the Sphinx was not specified by early tellers of the stories, and was not standardized as the one given below until late in Greek history.

It was said in late lore that Hera or Ares sent the Sphinx from her Aethiopian homeland (the Greeks always remembered the foreign origin of the Sphinx) to Thebes in Greece where she asks all passersby the most famous riddle in history: "Which creature has one voice and yet becomes four-footed and two-footed and three-footed?" She strangled and devoured anyone who could not answer. Oedipus solved the riddle by answering: Man—who crawls on all fours as a baby, then walks on two feet as an adult, and then uses a walking stick in old age. By some accounts (but much more rarely), there was a second riddle: "There are two sisters: one gives birth to the other and she, in turn, gives birth to the first. Who are the two sisters?" The answer is "day and night" (both words—ἡμέρα and νύξ, respectively—are feminine in Ancient Greek). This riddle is also found in a Gascon version of the myth and could be very ancient.

Bested at last, the tale continues, the Sphinx then threw herself from her high rock and died. An alternative version tells that she devoured herself. Thus Oedipus can be recognized as a "liminal" or threshold figure, helping effect the transition between the old religious practices, represented by the death of the Sphinx, and the rise of the new, Olympian gods.

In Jean Cocteau's retelling of the Oedipus legend, The Infernal Machine, the Sphinx tells Oedipus the answer to the riddle in order to kill herself so that she did not have to kill anymore, and also to make him love her. He leaves without ever thanking her for giving him the answer to the riddle. The scene ends when the Sphinx and Anubis ascend back to the heavens.

There are mythic, anthropological, psychoanalytic and parodic interpretations of the Riddle of the Sphinx, and of Oedipus's answer to it. Sigmund Freud describes "the question of where babies come from" as a riddle of the Sphinx. Numerous riddle books use the Sphinx in their title or illustrations.

Michael Maier in his book, the Atalanta Fugiens (1617) writes the following remark about the Sphinx's riddle, in which he states that the solution is the Philosopher's Stone:

Sphinx is indeed reported to have had many Riddles, but this offered to Oedipus was the chief, "What is that which in the morning goeth upon four feet; upon two feet in the afternoon; and in the Evening upon three?" What was answered by Oedipus is not known. But they who interpret concerning the Ages of Man are deceived. For a Quadrangle of Four Elements are of all things first to be considered, from thence we come to the Hemisphere having two lines, a Right and a Curve, that is, to the White Luna; from thence to the Triangle which consists of Body, Soul and Spirit, or Sol, Luna and Mercury. Hence Rhasis in his Epistles, "The Stone," says he, "is a Triangle in its essence, a Quadrangle in its quality."

South and Southeast Asia

Burmese depiction of the Manussiha

A composite mythological being with the body of a lion and the head of a human being is present in the traditions, mythology and art of South and South-East Asia. Variously known as purushamriga (Sanskrit, "man-beast"), purushamirugam (Tamil, "man-beast"), naravirala(Sanskrit, "man-cat") in India, or as nara-simha (Sanskrit, "man-lion") in Sri Lanka, manusiha or manuthiha (Pali, "man-lion") in Myanmar, and norasingh (from Pali, "man-lion", a variation of the Sanskrit "nara-simha") or thep norasingh ("man-lion deity"), or nora nair in Thailand.

In contrast to the sphinx in Egypt, Mesopotamia, and Greece, where the traditions largely have been lost due to the discontinuity of the civilization, the traditions of the "Asian sphinx" are very much alive today. The earliest artistic depictions of "sphinxes" from the South Asian subcontinent are to some extent influenced by Hellenistic art and writings. These hail from the period when Buddhist art underwent a phase of Hellenistic influence.

In South India, the "sphinx" is known as purushamriga (Sanskrit) or purushamirugam (Tamil), meaning "human-beast". It is found depicted in sculptural art in temples and palaces where it serves an apotropaic purpose, just as the "sphinxes" in other parts of the ancient world. It is said by the tradition, to take away the sins of the devotees when they enter a temple and to ward off evil in general. It is therefore often found in a strategic position on the gopuram or temple gateway, or near the entrance of the Sanctum Sanctorum.

Male purushamriga or Indian sphinx guarding the entrance of the Shri Shiva Nataraja temple in Chidambaram

The purushamriga plays a significant role in daily as well as yearly ritual of South Indian Shaiva temples. In the shodhasha-upakaara (or sixteen honors) ritual, performed between one and six times at significant sacred moments through the day, it decorates one of the lamps of the diparadhana or lamp ceremony. And in several temples the purushamriga is also one of the vahana or vehicles of the deity during the processions of the Brahmotsava or festival.

In Kanya Kumari district, in the southernmost tip of the Indian subcontinent, during the night of Shiva Ratri, devotees run 75 kilometres while visiting and worshiping at twelve Shiva temples. This Shiva Ottam (or Run for Shiva) is performed in commemoration of the story of the race between the Sphinx and Bhima, one of the heroes of the epic Mahabharata.

The Indian conception of a sphinx that comes closest to the classic Greek idea is in the concept of the Sharabha, a mythical creature, part lion, part man and part bird, and the form of Sharabha that god Shiva took on to counter Narasimha's violence.

In Philippines, the sphinx is known as nicolonia. Depicted as part man and part eagle, it is known to ask riddles to wanderers who trespass in the Bicol region. Anyone who fails to answer its riddle is said to be carried off to the Mayon Volcano where the person is said to be offered to the volcano god, Gev'ra, to appease his anger.

In Sri Lanka, the sphinx is known as narasimha or man-lion. As a sphinx, it has the body of a lion and the head of a human being, and is not to be confused with Narasimha, the fourth reincarnation of the deity Vishnu; this avatar or incarnation is depicted with a human body and the head of a lion. The "sphinx" narasimha is part of the Buddhist tradition and functions as a guardian of the northern direction and also was depicted on banners.

In Burma, the sphinx is known as manussiha (manuthiha). It is depicted on the corners of Buddhist stupas, and its legends tell how it was created by Buddhist monks to protect a new-born royal baby from being devoured by ogresses.

Nora Nair, Norasingh and Thep Norasingh are three of the names under which the "sphinx" is known in Thailand. They are depicted as upright walking beings with the lower body of a lion or deer, and the upper body of a human. Often they are found as female-male pairs. Here, too, the sphinx serves a protective function. It also is enumerated among the mythological creatures that inhabit the ranges of the sacred mountain Himapan.

Europe

La Granja, Spain, mid-18th century

The revived Mannerist sphinx of the late 15th century is sometimes thought of as the "French sphinx". Her coiffed head is erect and she has the breasts of a young woman. Often she wears ear drops and pearls as ornaments. Her body is naturalistically rendered as a recumbent lioness. Such sphinxes were revived when the grottesche or "grotesque" decorations of the unearthed Domus Aurea of Nero were brought to light in late 15th-century Rome, and she was incorporated into the classical vocabulary of arabesque designs that spread throughout Europe in engravings during the 16th and 17th centuries. Sphinxes were included in the decoration of the loggia of the Vatican Palace by the workshop of Raphael (1515–20), which updated the vocabulary of the Roman grottesche.

The first appearances of sphinxes in French art are in the School of Fontainebleau in the 1520s and 1530s and she continues into the Late Baroque style of the French Régence (1715–1723). From France, she spread throughout Europe, becoming a regular feature of the outdoors decorative sculpture of 18th-century palace gardens, as in the Upper Belvedere Palace in Vienna, Sanssouci Park in Potsdam, La Granja in Spain, Branicki Palace in Białystok, or the late Rococo examples in the grounds of the Portuguese Queluz National Palace (of perhaps the 1760s), with ruffs and clothed chests ending with a little cape.

Sphinxes are a feature of the neoclassical interior decorations of Robert Adam and his followers, returning closer to the undressed style of the grottesche. They had an equal appeal to artists and designers of the Romanticismand subsequent Symbolism movements in the 19th century. Most of these sphinxes alluded to the Greek sphinx and the myth of Oedipus, rather than the Egyptian, although they may not have wings.

Freemasonry

Sphinx adopted as an emblem in Masonic architecture

The sphinx image also has been adopted into Masonic architecture. Among the Egyptians, sphinxes were placed at the entrance of the temple to guard the mysteries, by warning those who penetrated within that they should conceal a knowledge of them from the uninitiated. Champollion says that the sphinx became successively the symbol of each of the gods. The placement of the sphinx expresses the idea that all the gods were hidden from the people, and that the knowledge of them, guarded in the sanctuaries, was revealed to the initiates only. As a Masonic emblem, the sphinx has been adopted in its Egyptian character as a symbol of mystery, and as such often is found as a decoration sculptured in front of Masonic temples, or engraved at the head of Masonic documents. It cannot, however, be properly called an ancient, recognized symbol of the order. Its introduction has been of comparatively recent date, and rather as a symbolic decoration than as a symbol of any particular dogma.

Brownie (folklore)

A brownie/brounie (Lowland Scots) or brùnaidh, ùruisg, or gruagach (Scottish Gaelic) is a mythical household spirit from English and Scottish folklore. Brownies are especially popular in the North. In this region, brownies are commonly conflated with hobs. A brownie is the Scottish and Northern English counterpart of the Scandinavian tomte, the Slavic domovoi and the German Heinzelmännchen.

Tradition

In folklore, a brownie resembles the hob, similar to a hobgoblin. Thomas Keightley describes the brownie as "a personage of small stature, wrinkled visage, covered with short curly brown hair, and wearing a brown mantle and hood".

Brownies are said to inhabit houses and aid in tasks around the house. However, they do not like to be seen and will only work at night, traditionally in exchange for small gifts of food. Among food, they especially enjoy porridge and honey. They usually abandon the house if their gifts are called payments, or if the owners of the house misuse them. Brownies make their homes in an unused part of the house, often in attics and holes in walls.

Every manor house had its ùruisg, and in the kitchen, close by the fire was a seat, which was left unoccupied for him. One house on the banks of the River Tay was even until the beginning of the twentieth century believed to have been haunted by such a sprite, and one room in the house was for centuries called "Seòmar Bhrùnaidh" (Brownie’s room).

In 1703, John Brand wrote in his description of Shetland that:

Not above forty or fifty years ago, every family had a brownie, or evil spirit, so called, which served them, to which they gave a sacrifice for his service; as when they churned their milk, they took a part thereof, and sprinkled every corner of the house with it, for Brownie’s use; likewise, when they brewed, they had a stone which they called "Brownie’s stane", wherein there was a little hole into which they poured some wort for a sacrifice to Brownie. They also had some stacks of corn, which they called Brownie’s Stacks, which, though they were not bound with straw ropes, or in any way fenced as other stacks used to be, yet the greatest storm of wind was not able to blow away straw off them.

Brownies seldom spoke with humans, but they held frequent and affectionate conversations with one another. They had general assemblies as well, usually held on a remote, rocky shore. In a certain district of the Scottish Highlands, "Peallaidh an Spùit" (Peallaidh of the Spout), "Stochdail a’ Chùirt", and "Brùnaidh an Easain" (Brownie of the little waterfall) were names of note at those congresses. According to Scottish toponymist William J. Watson, every stream in Breadalbane had an ùruisg once, and their king was Peallaidh. (Peallaidh's name is preserved in "Obair Pheallaidh", known in English as "Aberfeldy".) It may be the case, that ùruisg was conflated with some water sprite, or that ùruisg were originally water sprites conflated with brownies.

Another name by which the domestic spirit was known in some parts of Scotland was Shellycoat, of which the origin is uncertain.

Regional variants

Folklorist John Gregorson Campbell distinguishes between the English brownie, which lived in houses, and the Scottish ùruisg or urisk, which lived outside in streams and waterfalls and was less likely to offer domestic help. The ùruisg enjoyed solitude at certain seasons of the year. Around the end of the harvest, he became more sociable, and hovered around farmyards, stables and cattle-houses. He particularly enjoyed dairy products, and tended to intrude on milkmaids, who made regular libations of milk or cream to charm him off, or to gain his favour. He was usually seen only by those who possessed second sight, though there were instances when he made himself visible to ordinary people as well. He is said to have been jolly and personable, with flowing yellow hair, wearing a broad blue bonnet and carrying a long walking staff.

Anglo-Scottish Border folklore also included a figure, "Billy Blind" or "Billy Blin", much like the brownie, but mentioned only in ballads. A hob came from the Scottish Borders and north of England, while the lubber fiend, lob or lob lie-by-the-fire was a variant from England.

The Killmoulis is a similar creature that is often said to inhabit mills. The Killmoulis's physical appearance is said to differ greatly from that of the brownie due to the fact that the Killmoulis is said to have a tremendous nose that covers most of its face and is said to possess no mouth.

The fenodyree is a household spirit featured in folklore from the Isle of Man with similar attributes to the brownie. The fenodyree, however, is somewhat different from the brownie because it is usually described as being covered from head-to-toe in thick, woolly hair.

Jack o' the bowl is a household spirit from Swiss folklore that is very similar to the brownie.

Lecture: Tomte or nisse (sprites)

Swedish: Jultome, Nisse, Tomtenisse

A tomte or nisse is a mythical creature of Scandinavian folklore, believed to take care of a farmer's home and barn and protect it from misfortune, in particular at night, when the housefolk were asleep.

Tomte is the common Swedish name, derived from his place of residence and area of influence: the house lot or "tomt". The Finnish name for him is "tonttu". Nisse is the common name in Norwegian, Danish and the Scanian dialect in southernmost Sweden; it is a nickname for Nils, and its usage in folklore comes from expressions such as "Nisse god dreng" ('Nisse good lad', cf. Robin Goodfellow).

The tomte/nisse shares many aspects with other Scandinavian wights such as the Swedish vättar (from the Old Norse "landvættir") or the Norwegian tusser. These beings are social, however, whereas the tomte is always solitary (though he is now often pictured with other tomtar). Some synonyms of tomte in Swedish and Norwegian include gårdbo ((farm)yard-dweller), gardvord (yard-warden, see vörðr), god bonde (good farmer), fjøsnisse (barn gnome), or gårdsrå (yard-spirit). In other European folklore, there are many beings similar to the tomte, such as the Scots brownie (elf)|brownie, the German Wichtelmann or the Russian domovoi. The Finnish word tonttu has been borrowed from Swedish.

The tomte/nisse was often imagined as a small, elderly man (exact size varies from a few inches to about half the height of an adult man), often with a full beard; dressed in the everyday clothing of a farmer. However, there are also folktales where he is believed to be a shapeshifter able to take a shape far larger than an adult man, and other tales where the tomte/nisse is believed to have a single cyclopean eye. Since he was thought to be skilled in illusions and able to make himself invisible, one was unlikely to get more than brief glimpses of him no matter what he looked like.

Despite his smallness, the tomte/nisse possessed an immense strength. Even though he was protective and caring he was easy to offend, and his retributions ranged from a stout box on the ears to the killing of livestock or ruining of the farm's fortune. An angry tomte is featured in the popular children's book by Swedish author Selma Lagerlöf, "Nils Holgerssons underbara resa genom Sverige" (Nils Holgersson's Wonderful Journey Through Sweden). The tomte turns the naughty boy Nils into a tomte in the beginning of the book, and Nils then travels across Sweden on the back of a goose.

The tomte/nisse was a traditionalist who did not like changes in the way things were done at the farm. Another easy way to offend him was rudeness: farm workers swearing, urinating in the barns, or not treating the creatures well would be soundly thrashed. If anyone spilled something on the floor in the house it was wise to shout a warning to the tomte below. Like many other mythical creatures, one was also required to please him with gifts - a particular gift was a bowl of porridge on Christmas night. If he wasn't given his payment, he would leave the farm or house, or engage in mischief such as tying the cows' tails together in the barn, turning objects upside-down, and breaking things (like a troll). The tomte liked his porridge with a pat of butter on the top. In an often retold story, a farmer put the butter underneath the porridge. When the tomte of his farmstead found that the butter was missing, he was filled with rage and killed the cow resting in the barn. But, as he thus became hungry, he went back to his porridge and ate it, and so found the butter at the bottom of the bowl. Full of grief, he then hurried to search the lands to find another farmer with an identical cow, and replaced the former with the latter.

The tomte is connected to farm animals in general, but his most treasured animal was the horse. Belief had it that you could see which horse was the tomte's favourite as it would be especially well taken care of and healthy. Sometimes the tomte would even braid its hair and tail. (These "tomte braids" were in fact most likely caused by insufficient brushing.) Sometimes actually undoing these braids could mean misfortune or angering the tomte.

He had his dwellings in the burial mounds on the farm, hence the now somewhat archaic Swedish names tomtenisse and tomtekarl, Swedish and Norwegian names tomtegubbe, and the Finnish name tonttu-ukko (litt. House lot man) tomtebonde (bonde=farmer) and the Norwegian Haugkall (Mound man). Thus can the tradition of giving porridge to the tomte at Christmas be a reminescence of ancestral worship. The tomte could also take a ship for his home, and was then known as a skeppstomte/skibsnisse.

The tomte was in ancient times believed to be the "soul" of the first inhabitor of the farm. He who cleared the tomt.

The tomte was not always a popular figure: Like most creatures of folklore he would be seen as heathen and become connected to the Devil. Farmers believing in the house tomte could be seen as worshipping false gods; in a famous 14th century decree Saint Birgitta warns against the worship of tompta gudhi, "tomte gods". Folklore added other negative beliefs about the tomte, such as that having a tomte on the farm meant you put the fate of your soul at risk, or that you had to perform various non-Christian rites to lure a tomte to your farm.

The belief in a tomte's tendency to bring riches to the farm by his unseen work could also be dragged into the conflicts between neighbours. If one farmer was doing far better for himself than the others, someone might say that it was because of him having tomtar on the farm, doing ungodly work and stealing from the neighbours. These rumours could be very damaging for the farmer who found himself accused.

The modern tomte

In the 1840's the farm's "nisse" became the bearer of Christmas presents in Denmark, and was then called "julenisse". In 1881, the Swedish magazine Ny Illustrerad Tidning published Viktor Rydberg's poem Tomten, where the tomte is alone awake in the cold Christmas night, pondering the mysteries of life and death. This poem featured the first painting by Jenny Nyström of this traditional Swedish mythical character which she turned into the white-bearded, red-capped friendly figure associated with Christmas ever since. Shortly afterwards, and obviously influenced by the emerging Father Christmas traditions as well as the new Danish tradition, a variant of the tomte/nisse, called the "jultomte" in Sweden and "julenisse" in Norway, started bringing the Christmas presents in Sweden and Norway, instead of the traditional julbock Yule Goat.

Gradually, commercialism has made him look more and more like the American Santa Claus, but the Swedish "jultomte", the Norwegian "julenisse", the Danish "julemand" (as he is more often called today) and the Finnish "joulupukki" (in Finland he is still called the "Yule Goat", although his animal features have disappeared) still has features and traditions that are rooted in the local culture: he doesn't live on the North Pole, but perhaps in a forest nearby, or in Denmark he lives on Greenland, and in Finland he lives in Lapland; he doesn’t come down the chimney at night, but through the front door, delivering the presents directly to the children, just like the Yule Goat did; he is not overweight; and even if he nowadays sometimes rides in a sleigh drawn by reindeer, instead of just walking around with his sack, his reindeer don’t fly - and many in Sweden still put out a bowl of porridge for him on Christmas Eve.

The use of the word tomte in Swedish is now somewhat ambiguous, but often when one speaks of "jultomten" or "tomten" one is referring to the more modern version, while if one speaks of "tomtarna" (plural) one could also likely be referring to the more traditional tomtar. The traditional word tomte as lives on in an idiom, referring to the human caretaker of a property (hustomten), as well as referring to someone in one's building who mysteriously does someone a favour, such as hanging up ones laundry. A person might also wish for a little hustomte to tidy up for them.