Helleristninger

280 petroglyph sites and the four artists who engraved them

Allan Krill, Professor of Geology

'Deep Dive' podcast (30 minute audio, December 25, 2024)

In June 2021, while looking at the Alta petroglyphs (helleristninger) with my geology students, I realized that those engravings could not have been pecked with Stone Age tools. Stone points are brittle and shatter when struck. Quartz crystals, for example, are more brittle and break more easily than glass. Antler points and bone points would be too soft. We can see that the pecking tool was very sharp and could be accurately positioned. It kept its shape without breaking, strike after strike. The point must have been iron, and the petroglyphs must be from the Iron Age. Wrought iron boat nails would be the perfect tool.

Nailpoint engraving technique. Left: Longship with animal-head prow and a crew of 15 or 30 men. Right: Cervid (reindeer, moose, or elk.)

Some of the petroglyph images are Viking-style longships, with large crews. Such boats are for long-distance travel, not for fishing. It would probably take two to three weeks to paddle the full length of Norway. There would always be a hammer and spare nails on a longship for necessary repairs. A petroglyph artist who was a strong paddler would be welcome to join such trips. People with longships would not spend winters in arctic Alta, where the sun sets on November 24th and doesn't rise again until January 16th. They probably visited Alta in the midnight-sun season, like I do.

I identify individual artists by their quirks. From studying photographs and tracings of petroglyphs, I now think that only four artists —whom I call Steinn Stikkmann, Bårdr Båtmann, Ingi Innrisser, and Oddr Omrisser— made nearly all the petroglyphs in Norway, Sweden, and NW Russia. There are no pecked petroglyphs in Finland, or in large parts of Sweden, or in Aust-Agder Norway, simply because none of the petroglyph artists went there.

I think that Steinn Stikkmann invented the nailpoint technique, and the other three artists got the idea from him. There are runes on five of his sites (Stuberg, Tessem, Kårstad, Askum, Herrestad). The runes were written with characters of the Elder Futhark alphabet, which was in use about 400 CE. Swastikas from the same time period are engraved on three of those panels (Stuberg, Kårstad, Askum). That gives us the age of the earliest petroglyphs. All four artists sometimes showed longships with animal-head prows, rather like Viking dragon-head prows. But Viking longships in about 800 CE had masts and sails. Since none of the hundreds of petroglyph boats show sails, the petroglyphs must have been made before 800 CE.

It is possible to consider the motifs, drawing skills, and styles of the artists, and speculate about their artistic careers and travels. I explain my current interpretations below. You can find evidence for most of my hypotheses in the links at the bottom of this page. You are welcome to publish your own comments and hypotheses here: https://groups.io/g/VikingRockArt

Steinn Stikkmann discovered how to use a nail as a 'stabbing tool' (stikkvåpen) to engrave relatively soft rocks in Gauldalen, central Norway. Archaeologists have noted that the petroglyphs there are relatively crude. Stikkmann practiced engraving by making round 'cup marks' and sets of matching shoe prints that never show a pattern of walking. He also tried engraving with a knife point in Gauldalen. He loved boats. He drew many boats with two 'horns' fore and two horns aft, like the Iron Age boat that was buried at Hjortspring, Denmark in about 350 BCE. But most of Stikkmann's boats were much more seaworthy, with high prows like Viking Age longships. Stikkmann's longships are said to be Bronze Age boats, but I think they were the most common style boats in 400 CE.
Stikkmann's art is highly stylized and easy to recognize. He drew extremely thin horses, men with exaggerated calf muscles, long necks, and often with phalluses —sometimes an obvious phallus and scrotum, but usually disguised as a possible knife, sword, stick, hand, or extraneous line. He sometimes showed interactions among figures. He showed his thin horses pulling a chariot (at Staveneset, Begby, Björneröd, Brastad, Frännarp, and Kivik) and processions of about nine men (at Leirfall, Bakke, Tanum, Häljesta, Ekenberg, and Kivik). He motifs were very limited, considering the thousands of engravings that he made. He exaggerated some things, such as extra-long longships with over a hundred crew members, and longship captains shown as giants. He often showed an acrobat doing a backward somersault above a longship.

Stikkmann's petroglyph sites show where he traveled. He started at Foss, where he practiced engraving by making mostly cup marks on over 50 different panels. Foss was a wealthy settlement in Stikkmann's time. Because of the waterfall ('foss') on the Gaula River, the chief of a travel station there could control transport to upper Gauldalen. Archaeologists have found a chief's burial site at Foss containing artifacts of gold, and dated it to about 400 CE. A bog-iron smelting facility has also been found. Stikkmann may have been a chief's son. He was educated enough to write with runes. Stikkmann's real name may have been Foss: place names have been used since Viking times as surnames, and there are currently over 3000 Norwegians with the surname Foss.
From Foss, Stikkmann went to the lake Selbusjøen and then to Stjørdal, where he may have stayed for a year or so. Then he went to Steinkjer, and further north to Nordland. He left central Norway and went by longship along the coast of western Norway as far as Stavanger. From there he traveled inland up into Telemark and to Skien. He did not go by boat around southern Norway, which helps explain why there are no petroglyphs in Aust-Agder.
Stikkmann's route can be traced in great detail. He left petroglyphs at Norwegian sites in this apparent order: Foss-> Lynge-> Skjerdingstad-> Rødde-> Eidstu-> Solem-> Grøtte-> Engan-> Balstad-> Svinås-> Hagen-> Dybvad-> Stuberg-> Leirfall/Hegre/Auran-> Okkenhaug-> Bardal/Tessem/Hammer-> Tro-> Roskar-> Kårstad/Hennebygda/Sandane-> Stavenes-> Leirvåg-> Halgjem-> Samnøy-> Vinnes-> Hamarhaug-> Årsand-> Berge-> Bakke-> Haustveit-> Aga-> Frøynes-> Børve-> Opheim-> Duesteinen/Bruteigsteinen-> Helgaberg-> Fjøsnaneset-> Utbjoa-> Sola/Ølbør-> Hagen-> Holo/Ullshelleren-> Sporaneset (Sporanes)-> Gjerpen-> Haugen-> Brobakken-> Sundvollen/Berget-> Dalbo/Gjettum-> Gaustad-> Blindern-> Øvre Fossum-> Bingsfossen-> Ekeberg-> Skjellerud-> Søndre Ski-> Ramberg.
Stikkmann then spent many years in the Østfold-Bohuslän area, working with the Bohus granite. He made petroglyphs on over 3000 rock panels in that granite, which could be an average of 100 panels per year for 30 years. Most panels include cup marks, and many show only cup marks. The Bohus granite was ideal for his petroglyphs. It is hard and fresh, with no layering and relatively few fractures. (Gustav Vigeland used Bohus granite to carve statues and the monolith in Frognerparken.) Stikkmann took some long trips to check out other areas. He visited eastern Sweden, the southern tip of Sweden, and the islands Gotland and Bornholm. He must have been famous, because he was invited to engrave rock slabs for a coffin in the 'Kivik King's Grave'. I suppose that he owned no house or property, and that people gave him room and board wherever he went. Being educated enough to know runes, and well traveled, he was probably a popular house guest.

Bårdr Båtmann probably lived in the Stavanger area, maybe on the island Åmøy. There are many petroglyph panels by him there. He traveled the least of the four artists. I speculate that he met Stikkmann or saw his work at Fluberget or Sola near Stavanger, and was inspired to use Stikkmann's techniques to make petroglyphs himself. He also made a few cup marks and shoe prints to test the rocks and to practice engraving. He made boats similar to some of Stikkmann's, but very few other motifs, and nothing fanciful. Båtmann's boats are probably not exaggerated, and are the most accurate depictions of boats in western Norway about 400 CE. They have nothing to do with the Bronze Age.

Ingi Innrisser had the widest variety of motifs and artistic styles. His petroglyphs are found from Finnmark in the north to Oslo in the south, and from Vingen in the west to Russia in the east. His petroglyphs show animals, and are therefore said to reflect a pre-agrerian hunting-culture in the Stone Age. That is not correct.
Innrisser often drew cervids — deer, reindeer, moose, or elk. They are schematic, not naturalistic. They often have small pointed heads. They cannot usually be identified as to species. A few at Vingen may be horses, since they seem to have riders. He liked to decorate the bodies of cervids and humans with ribs or various patterns, including geometric designs. He sometimes made elaborate story pictures: the migration of cervids at Gamnes and Nämforsen, Sámi people at Alta collecting their reindeer in corrals, bears at Alta leaving their winter dens and making long trails of footprints in the snow as they wandered around, men with bows and arrows hunting bears and reindeer at Alta, men on skis at Vyg and Kanozero hunting cervids and bears, and fleets of boats with animal-head prows harpooning beluga whales in the White Sea.
From analysis of Innrisser's motifs and styles, I am trying to follow his career. I think that his first work was at Vingen, where there are thousands of images. I think he made them all. They include his new-beginner attempts on loose rocks of all sizes and situations. He engraved hundreds of strange hook figures. They comprise about 20% of his images at Vingen and are still not really understood. He may have engraved the hooks simply to practice engraving. He made them also at Alta, and there we can see that they are animal-head sticks being held by people. They may have been inspired by an animal-head walking stick that Innrisser knew as a child.
Vingen is a desolate place, and I suspect that Innrisser actually lived in the populated Skatestraumen area nearby. He may have known about Stikkmann's nailpoint engravings at Kårstad, Hennebygda, Sandane, or elsewhere. After working at Vingen, he took his first long trip to Tennes and Alta and I think he showed Omrisser how to engrave rocks on that trip. His next major work was probably the petroglyphs at Ausevik. At most of his sites, he was together with Omrisser. Omrisser encouraged Innrisser to make his deer more anatomically correct, with shoulder humps, larger heads, and muscular legs. They took a long trip together to eastern Norway, probably going south along the Gudbrandsdalen watercourse and returning north via the Drammen watercourse (Eidefossen-> Drotten-> Stein-> Glemmestad-> Ekeberg-> Åskollen/Skogerveien-> Lier-> Geithus-> Møllerstufossen.)
The last sites of Innrisser's career were the ones near the White Sea. There he drew humans mostly in profile, not face-on.

Oddr Omrisser was the last of the four main petroglyph artists. We can be sure of that because he had the curious habit of defacing rock panels by carving large and inappropriate outline images right on top of others. He damaged most of his own panels in that way, and Stikkmann's panels at Bardal and Hammer, Båtmann's panels at Åmøy, and Innrisser's panels at Alta and Bogge. He usually made outlines of his objects —of animals, of boats, of people, and even of the antlers of reindeer and the penises of men. He made images large and even life size when possible. His engravings are typically overlapping and incomplete.
Early in his career, Omrisser made rock paintings at dozens of sites in northern Sweden, and a few sites in central Norway, and maybe Transfarelv in Alta. He used red ocher pigment, probably mixed with oil or fat that penetrates the rock surface, leaving red traces that are visible after more than a thousand years. He worked mostly during the winter in Sweden, when he could stand on frozen lakes and paint shoreline cliffs. Later, he also stood on frozen lakes to make engravings. I suspect that he was born south of Strömsund Sweden, where there is a cluster of his rock paintings, all within skiing distance from each other. That is not far from Nämforsen, where he and Innrisser later made nailpoint petroglyphs, also during wintertime when the river had little water.
Omrisser was a naturalist, and most of his animal outlines were highly naturalistic. It is usually possible to identify the species of his cervids, birds, fish, and whales. He often drew a line for the mouth, but no eye, and often ignored the feet. He sometimes showed internal organs. He put rhombic designs on many of his panels, including rhombs with a special 3D-effect (at Fångsjön, Hell, and Forselv). Those 3D-rhombs are so special that I think of them as Omrisser's signature or fingerprint. He showed no interest in hunting, except for a sketch-style scene at Alta of a man in a boat harpooning a whale. (His early boat sketches there were probably influenced by Innrisser.) He rarely showed interactions among figures. However, at two sites (Bardal and Alta) he showed a large naturalistic man with an erection approaching a diminutive woman.
I think that Omrisser's earliest engravings were at Tennes with Innrisser, because his drawings there are amateurish. He probably engraved those petroglyphs without first drawing the images with charcoal. His next engravings were at Alta, also with Innrisser. He visited Alta other summers as well, after his drawing and engraving skills had improved.
Omrisser used four different petroglyph techniques during his career. He started with red ocher stain, but mostly he used the nailpoint technique. On two panels of soft rocks (at Gärde, Hell) he used the point of a knife to engrave. Late in his career, at the peak of his artistic skill, he discovered that he could quickly and easily make large petroglyphs by scraping away black lichen that coats the surfaces of white granites. He made life-sized images of animals (and a 4.3 meter long boat) using that technique at seven coastal sites in Nordland (Leiknes, Fykanvatn, Mjønes, Nes, Sagelva, Valle, and Åmøya).

Tryggvi Tagger. In our 'Urban Age' we are familiar with graffiti and tagging. Petroglyphs were graffiti art, and the four artists were 'Iron Age Banksys'. A fifth person, whom I call Tryggvi Tagger, made cup marks on boulders in high mountain areas of southern Norway. Those engravings were not artistic, but simply marked his presence. I think he learned the nailpoint technique from seeing Stikkmann’s shoe prints and ship, and probably some cup marks, at Børve in Ullensvang on the east side of Hardangerfjord. Perhaps he met Stikkmann. Then Tagger made hundreds of cup marks on over 50 boulders near Stikkmann’s panels. From there he went north and northeast, and tagged over a hundred boulders over a huge area, as far away as 150 km from Ullensvang.

Boats by Stikkmann and Båtmann probably show how most boats looked about 400 CE. Boats by Innrisser and Omrisser have single-prowed bows and look more like Viking boats, so I am guessing that they lived a few centuries later. Omrisser actually made many types of boats. He studied Båtmann's boats at Åmøy and then chose one that he liked and made his own outlined versions of it at Åmøy and then at Alta (Apana). That boat design had two stems at the bow and only one at the stern. One of his boat copies at Åmøy is 5.5 meters long — the largest boat petroglyph in Scandinavia. Omrisser liked making large images.

Other people engraved runestones. About 50 runestones with Elder Futhark characters are known in Norway and Sweden. I know of none that have images, only text. There are over 2000 runestones written with Futhark characters during the Viking Age (800-1030 CE). Many of them have images, but of different styles than the four petroglyph artists.

Petroglyphs cannot be dated directly, and that has been a problem in archaeology. People expect archaeologists to tell them how old petroglyphs are, and everyone appreciates artifacts more if they are very old. Archaeologists adopted the 'shoreline dating' method a century ago, and have (mis)used it in combination with wishful thinking to give Stone Age dates. Shoreline dating gives the times that the land areas were lifted above the sea during post-glacial uplift. Those are the oldest possible times of human activity on that land —not the most likely times. Shoreline dating and Stone Age archaeology became firmly established by the claims of Anders Nummedal.
Nummedal was a school teacher with an education in geology. I contend that he made artifacts himself, and then said he found them on uplifted beach terraces from 1909 to 1939. Many of his artifacts are chipped from polished beach cobbles of poor quality stone. There are no rust stains or lichens on the chipped surfaces, showing that the stones are freshly chipped. His goal was to create a belief in Stone Age inhabitants, and to create an archaeology career for himself. He fabricated finds on uplifted Stone Age beaches at over 200 sites in central Norway and over 60 sites in Finnmark. He wrote that he easily found chipped stones, and that it was his fate to discover Norway's prehistoric settlements.
Archaeologists were fooled by Nummedal's deceit for many years. Then they tried to avoid thinking about it, and stopped including references to his pioneering publications in their own publications. They did not want to damage the reputation of Norwegian Stone Age archaeology and their own careers. I have explained Nummedal's hoaxes in detail at Hoaxyz.com, and translated his most influential book Le Finnmarkien: Les origines de la civilisation dans l'extrême-nord de l'Europe. My goal is to encourage new archaeology students to read Nummedal's original works and be aware of his falsifications.

My alternative paradigm is shunned by archaeologists, who are caught in the paradigm that petroglyphs reflect cultural traditions, and were made by local inhabitants in relation to rituals at significant places over hundreds of years. New students accept whatever paradigm is taught to them, but professionals whose expertise lies within a paradigm naturally try to avoid a paradigm shift. (I know this from research for my book Not Getting the Drift about the paradigm shift to plate tectonics in geology.) Archaeologists have not answered my emails or come to my lectures, and journal editors will not send my manuscripts to peer review. They won't help me correct my mistakes. They would prefer any new paradigm to be developed cautiously over many years by professional archaeologists. But as a professor, I want to document my research, and help students make good choices at the beginning of their careers.

I hope that you will study Scandinavian petroglyphs. You may share your own evidence and hypotheses here:
https://groups.io/g/VikingRockArt

Allan Krill
allankrill@gmail.com

280 sites. Click on a site name to see some of the petroglyph images.
Almfjellet (Omrisser)
Alta (Innrisser + Omrisser)
Alta Bergbukten 1 (Innrisser shown in red) (Omrisser shown in blue)
Alta Kåfjord (Innrisser shown in black) (Omrisser shown in blue)
Alta Amtmannsnes (Innrisser)
Alta Apanes (Omrisser)
Arnstad (Stikkmann)
Askum +page (Stikkmann)
Askvoll (Stikkmann)
Aspeberget (Stikkmann)
Aubeberget +page (Båtmann)
Auran (Stikkmann)
Ausevik (Innrisser)
Backa (Bohuslän) +page (Stikkmann)
Bakke (Stjørdal) (Stikkmann)
Bakke-Kalhagen (Stikkmann)
Balken (Stikkmann)
Bardal I (Stikkmann + Omrisser)
Bardal I (Omrisser, with Stikkmann's work not shown)
Bardal II (Stikkmann + Omrisser)
Bardal III (Innrisser)
Barfendal (Stikkmann)
Begby (Stikkmann)
Berga (Stikkmann)
Berget i Hole (Stikkmann)
Bingsfossen +page (Stikkmann)
Björksta (Stikkmann)
Bjørngård (Stikkmann)
Bjørset (Omrisser?)
Blindern (Stikkmann)
Bogge/Boggestranda I, II, III (Innrisser + Omrisser)
Bogge I (Innrisser + Omrisser)
Bogge II (Omrisser)
Bogge III (Omrisser)
Boglösa (Stikkmann)
Boglösaby (Stikkmann)
Bokenäs (Stikkmann)
Borgenveien (Stikkmann)
Brandskog (Stikkmann)
Brastad 1 Brastad 2 (Stikkmann)
Brennholtet (Omrisser)
Bremset (Stikkmann)
Bro (Stikkmann)
Brobakken (Stikkmann)
Bru (Båtmann + Omrisser)
Bruteigsteinen (Stikkmann)
Buøy (Båtmann)
Bø (Båtmann)
Bøla (Omrisser)
Dalbo +page (Stikkmann)
Disåsen (Stikkmann)
Dokkfløyvatnet (Innrisser? + Omrisser?)
Drotten (Innrisser + Omrisser)
Duved (Omrisser)
Eidefossen (Innrisser + Omrisser)
Ekeberg (Stikkmann)
Ekeberg (Innrisser + Omrisser)
Emelieborg (Stikkmann)
Etne (Stikkmann)
Evenhus (Omrisser)
Evjestien (Stikkmann)
Finntorp (Stikkmann)
Fjøsnaneset (Stikkmann)
Flatruet (Omrisser)
Fluberget (Stikkmann)
Flyhov (Stikkmann)
Forselv (Omrisser)
Fordal (Stikkmann)
Forshälla (Stikkmann)
Fossum (Stikkmann)
Foss (Stikkmann)
Foss socken (Stikkmann)
Frännarp (Stikkmann)
Fykanvatn (Omrisser)
Fåglum (Stikkmann)
Fångsjön (Omrisser)
Fårö (Stikkmann)
Gamnes (Innrisser)
Geithus (Innrisser + Omrisser)
Gerum (Stikkmann)
Gjeving in Stjørdal (Stikkmann)
Gjettum (Stikkmann)
Gjerpen (Skien) (Stikkmann)
Glemmestad (Innrisser + Omrisser)
Glösa (Innrisser)
Granaune (Stikkmann)
Gravem (Omrisser)
Grinneröd (Stikkmann)
Gärde (Omrisser)
Görlöf (Stikkmann)
Gåshopen (Innrisser)
Haga (Båtmann)
Hafslund (Stikkmann)
Hagen in Stjørdal (Stikkmann)
Hamarhaug (Stikkmann)
Hammer II, III, XI (Steinkjer) (Stikkmann)
Hammer I, IV, V, VI, VIII, X, XIII, XIV, XV (Omrisser)
Hammer IX (Stikkmann + Omrisser)
Hananger (Båtmann)
Harastad (Båtmann)
Hauge (Båtmann)
Hegre (Stikkmann)
Helgaberget (Stikkmann?)
Hell +page (Omrisser)
Hellestø (Båtmann)
Hemsta (Boglösa) (Stikkmann)
Hennebygda (Stikkmann)
Herrestad (Stikkmann)
Himmelstalund (Stikkmann)
Hinna (Tingvoll) (Omrisser)
Hjulatorp (Stikkmann)
Hodnafjell (Båtmann)
Hogdal (Stikkmann)
Holtås I (Innrisser)
Holtås II (Omrisser)
Honnhammerneset (Tingvoll) (Omrisser)
Husebø (Båtmann)
Hvitlycke (Stikkmann)
Häljesta (Stikkmann)
Hästhallen (Stikkmann)
Hästholmen (Stikkmann)
Hästskotjärn (Omrisser)
Högsbyen (Stikkmann)
Håby (Stikkmann)
Håhaugsteinen (Stikkmann)
Isnestoften (Innrisser + Omrisser)
Jondal (Stikkmann)
Järrestad +page (Stikkmann)
Jätteberget i Alvhem (Stikkmann)
Jörlov (Stikkmann)
Kalleberg (Båtmann)
Kalleby (Stikkmann)
Kanozero (Innrisser)
Kattaberget (Bø) (Båtmann)
Katthammar (Båtmann)
Kivik (Stikkmann)
Kjernevik (Båtmann)
Krabbestig (Husevågøy) (Stikkmann)
Krokstad (Stikkmann)
Kråkenes (Båtmann)
Kvennavika (Omrisser)
Kvernevik (Båtmann)
Kviljo (Båtmann)
Kville +page +page (Stikkmann)
Kyrkstigen (Stikkmann)
Kårstad (Stikkmann)
Landverk (Omrisser)
Lane-Ryr (Stikkmann)
Langeland (Båtmann)
Leiknes (Omrisser)
Leirbukt (Innrisser)
Leirfall (Stikkmann)
Leirvåg (Stikkmann)
Lier (Innrisser)
Litlevåg-Meling (Båtmann)
Litsleby (Stikkmann)
Ljung (Stikkmann)
Lommeland (Stikkmann)
Lunde (Båtmann)
Lur (Stikkmann)
Lycke (Stikkmann)
Lyse (Stikkmann)
Lärbro (Stikkmann)
Løkeberget (Stikkmann)
Løland (Båtmann)
Lövåsen (Stikkmann)
Lånke (Omrisser)
Madsebakke (Stikkmann)
Massleberg (Stikkmann)
Melhus (Stikkmann)
Melingsjøvegen (Båtmann)
Mjønes (Omrisser)
Mo (Stikkmann)
Molteberghellene (Stikkmann)
Møllerstufossen (Innrisser)
Nag (Båtmann + Omrisser)
Naverstad (Stikkmann)
Nedre Tasta (Båtmann)
Nes (Josarsaklubben) (Omrisser)
Norr Edsten 15 (Stikkmann)
Norrfors (Omrisser)
Nytjønna i Lierne (Omrisser)
Nämforsen (Innrisser + Omrisser)
Näsinge (Stikkmann)
Okkenhaug (Stikkmann)
Onega (Innrisser)
Oppeby (unknown artist?)
Orust (Stikkmann)
Otterbäcken (Stikkmann)
Penne (Båtmann)
Pyntelund/Bjornstaskipet (Stikkmann)
Ramberg +page (Stikkmann)
Rauhammer (Omrisser)
Re (Stikkmann)
Reitaneset (Innrisser?)
Revheim (Båtmann)
Rickeby (Stikkmann)
Roskar (Stikkmann)
Rudlo (Båtmann)
Rykkje (Omrisser)
Røkke (Stikkmann)
Råhaugen (Stikkmann)
Røsand (Omrisser)
Sagelva (Omrisser)
Salsnes (Omrisser)
Salthammeren (Innrisser + Omrisser)
Salthammeren upper panel (Omrisser)
Salthammeren lower panel (Omrisser)
Samnøy (Stikkmann)
Sandåker (Stikkmann)
Sanne (Stikkmann)
Selbustrand (Stikkmann)
Simrislund (Stikkmann)
Sjøhagen-Meling (Båtmann + Omrisser)
Skavberget (Omrisser)
Skee (Stikkmann)
Skepplanda (Stikkmann)
Skien (Stikkmann)
Skogerveien +page (Innrisser)
Skredsvik (Stikkmann)
Slagsta +page (Stikkmann)
Slavlo (Levanger) (Stikkmann)
Slettjord (Omrisser)
Slettnes (Innrisser)
Sola (Stikkmann)
Solbakk (Båtmann)
Solberg +page (Stikkmann)
Soteorp (Stikkmann)
Sporaneset (Stikkmann)
Stavenes (Stikkmann)
Stein (Ringsaker) (Innrisser) (+Omrisser)
Storsteinen (Innrisser) (+Omrisser)
Strand (Omrisser)
Stuberg (Stikkmann)
Stugåsberget i Skepplanda (Stikkmann)
Stykket (Omrisser)
Sundvollen +page +page (Stikkmann)
Surnadal (Innrisser)
Svarteborg (Stikkmann)
Søbstad (Omrisser)
Sør-Sunde (Båtmann)
Tanum (Stikkmann)
Tegneby (Stikkmann)
Tennes (Innrisser)
Tennes (Omrisser)
Tessem (Stikkmann)
Tjursåker (Stikkmann)
Torhamn (Stikkmann)
Torsbo (Stikkmann)
Tose (Stikkmann)
Tossene (Stikkmann)
Tro, Rødøy (Stikkmann)
Tro, Rødøy (Omrisser)
Ullshelleren/Valldalen (Stikkmann)
Unneset (Stikkmann)
Utsikten-Alvim (Stikkmann)
Valla (Stikkmann)
Valle +page +page (Omrisser)
Vallen (Stikkmann)
Verdal (Omrisser)
Vigdel (Båtmann)
Vik on Rolla (Omrisser)
Vikan (Stikkmann)
Viltlycke (Stikkmann)
Vingen (Innrisser)
Vinja (Stikkmann)
Vistnesdalen +page (Omrisser)
Vrångstad (Stikkmann)
Vyg (Innrisser)
Vågholmveien (Båtmann)
Ydstines (Stikkmann)
Ølbør (Stikkmann)
Örsta (Stikkmann)
Åbodsjön (Omrisser)
Åby +page (Stikkmann)
Åmøy (Stavanger) (Båtmann + Omrisser)
Åmøya (Nordland) +page (Omrisser)
Åskollen (Innrisser)

The links below record my evidence and hypotheses as I develop them (including hypotheses that failed.)
Messages at https://groups.io/g/VikingRockArt