“…Classical horse‐and‐rider amulets, in comparison, usually feature the names of figures such as King Solomon or invocations of God – not fabricatory expressions; see Bonner (: nos 294ff.). The Tjurkö legend was clearly composed in a rhythmic, poetic manner, though: w urtē and w alhakurnē alliterate, ‘foreign‐corn’ has usually been taken to represent an allusive reference to ‘gold’ (and hence metonymically the bracteate), and the mannered syntax evidently represents a distraction of the alliterating line wurtē rūnō r an walhakurnē from its logically expected position between its subject Helda r and its indirect object Kunimu(n)diu (or vice versa); see Salberger (), Naumann (: 698, : 152), Spurkland (: 28–30), MacLeod & Mees (: 95), Beck (: 14–15), Mees (: 216, : 79), Düwel (: 51–2) and Düwel & Nowak (: 403–9) . We seem only to be being afforded access to a functionally basic part of a broader magico‐religious background by Helda r – a context we are not immediately privy to today which supplied the rest of the amuletic meaning to a fifth‐ or sixth‐century audience.…”