Keychain, Old-Germanian Symbol, 40 x 48 mm, Antique brass plated, two-faced design

In Norse mythology, Fenrir (Old Norse "fen-dweller"), Fenrisúlfr (Old Norse "Fenris wolf"), or Hróðvitnir (Old Norse "fame-wolf") is a monstrous wolf. Fenrir is attested in the Poetic Edda, compiled in the 13th century from earlier traditional sources, and the Prose Edda and Heimskringla, written in the 13th century by Snorri Sturluson. In both the Poetic Edda and Prose Edda, Fenrir is the father of the wolves Sköll and Hati Hróðvitnisson, and is foretold to kill the god Odin during the events of Ragnarök, but will in turn be killed by Odin's son Víðarr. In the Prose Edda, additional information is given about Fenrir, including that, due to the gods' knowledge of prophecies foretelling great trouble from Fenrir and his rapid growth, the gods bound him, and as a result Fenrir bit off the right hand of the god Týr. Depictions of Fenrir have been identified on various objects, and scholarly theories have been proposed regarding Fenrir's relation to other canine beings in Norse mythology. Fenrir has been the subject of artistic depictions, and appears in literature.

Keychain, Old-Germanian symbol, 35 x 35 mm, Antique brass plated, two-faced design

Die Freimaurerei, auch Königliche Kunst genannt, fördert nach eigenem Dafürhalten weltweit Brüderlichkeit und Humanität. In allen ihren Ausprägungsformen zählt sie weltweit aktuell etwa fünf Millionen Mitglieder. Ihrer Selbstdarstellung zufolge vereint sie Menschen aller sozialen Schichten, Bildungsgrade und religiösen Vorstellungen und diene der geistigen und ethischen Selbstvervollkommnung. Die Konstitution der ersten Großloge wurde am 28. Februar 1723 im Postboy öffentlich beworben. Sie bildet die Grundlage der heutigen Freimaurerei. Die Freimaurerei ist weltweit in Logen organisiert, im Rahmen der frühen Aufklärung ursprünglich als Männerbund gegründete bürgerliche Vereine und betreibt in vielen Ländern Öffentlichkeitsarbeit. Ähnlich wie die Lesegesellschaften der frühen Aufklärung dienen die Freimaurer zur Einübung des öffentlichen Disputs und der Weiterbildung der Mitglieder, wobei sich die Teilnehmer im Gegensatz zu politischen Geheimbünden intern politisch religiöser Äußerungen enthalten. Freimaurer verpflichten sich zu Verschwiegenheit über freimaurerische Erkennungszeichen, Rituale und vertrauliche Informationen anderer Mitglieder. Dies ermöglicht den freien Ideen- und Meinungsaustausch nach innen. Grundsätzlich sind die meisten Rituale in einschlägiger Literatur nachzulesen. Die Symbolik und Zeremonien der freimaurerischen Treffen wurde auf die mittelalterliche Bauhüttentradition und die Rituale des Tempelordens zurückgeführt. Die Treffen haben eine quasireligiösen, meditativen Charakter, wobei gelegentlich die Grenze zur sinnlosen Esoterik und phantasievollen Geheimnistuerei überschritten wurde

The symbol of the ancient forces of the Germanic empire. So the sign was not only used as protection against weapons of the opponent, but also as protection during sleep, as a shovel in the snow and to quickly overcome deep valleys as a toboggan. Warlords adorned with ornate, but very heavy shields, with the warriors in the army often received only one with metal reinforced wooden sign.

Keychain, Germanian Symbol, 40 x 40 mm, Antique brass plated, two-faced design

The eagle is used in heraldry as a charge, as a supporter, and as a crest. Parts of the eagle's body such as its head, wings or leg are also used as a charge or crest. The eagle symbolized strength, courage, farsightedness and immortality. It is considered to be the king of the air and the messenger of the highest Gods. Mythologically, it is connected by the Germanic tribes with Odin.

Keychain, Symbol of German historical era, 32 x 40 mm, Antique brass plated, two-faced design

An Irminsul (Old Saxon, probably "great/mighty pillar" or "arising pillar") was a kind of pillar which is attested as playing an important role in the Germanic paganism of the Saxon people. The oldest chronicle describing an Irminsul refers to it as a tree trunk erected in the open air. The purpose of the Irminsuls and the implications thereof have been the subject of considerable scholarly discourse and speculation for hundreds of years. A Germanic god Irmin, inferred from the name Irminsul and the tribal name Irminones, is sometimes presumed to have been the national god or demi-god of the Saxons. It has been suggested that Irmin was more probably an aspect, avatar or epithet of some other deity - most likely Wodan (Odin) - or even is a Neopagan invention; it is not attested as an independent deity in pre-Modern sources on Germanic paganism. Irmin might also have been an epithet of the god Ziu (Tyr) in early Germanic times, only later transferred to Odin, as certain scholars ascribe to the idea that Odin replaced Tyr as the chief Germanic deity at the onset of the Migration Period. This was the favored view of early 20th century Nordicist writers, but it is not generally considered likely in modern times.

Celtic Main-Symbol, 33 x 60 mm, two-faced design, Antique brass plated

In Ireland, it is a popular myth that the Celtic Christian cross was introduced by Saint Patrick or possibly Saint Declan during his time converting the pagan Irish. It is believed that Saint Patrick combined the symbol of Christianity with the sun cross, to give pagan followers an idea of the importance of the cross by linking it with the idea of the life-giving properties of the sun. In Celtic regions of Ireland and later in Great Britain, many free-standing upright crosses (or high crosses) were erected by Irish monks, beginning at least as early as the 7th century. Some of these 'Celtic' crosses bear inscriptions in runes. There are surviving free-standing crosses in Cornwall (famously St Piran's cross at Perranporth) and Wales, on the island of Iona and in the Hebrides, as well as the many in Ireland. Other stone crosses are found in the former Northumbria and Scotland, and further south in England, where they merge with the similar Anglo-Saxon cross making tradition, in the Ruthwell Cross for example. The most famous standing crosses are the Cross of Kells, County Meath, Ireland; Ardboe Auld Cross, Ardboe, County Tyrone, Northern Ireland; the crosses at Monasterboice, County Louth, Ireland; and the Cross of the Scriptures, Clonmacnoise, Ireland. The Celtic cross is often made of stone. After the 15th century, ringed high crosses ceased to be created in the Celtic lands, other than a few obscure examples. The Celtic Revival of the mid-19th century led to an increased use and creation of Celtic crosses in Ireland. In 1853 casts of several historical high crosses were exhibited to interested crowds at the Dublin Industrial Exhibition. In 1857, Henry O'Neill published Illustrations of the Most Interesting of the Sculptured Crosses of Ancient Ireland. These two events stimulated interest in the Christian and non-Christian Celtic crosses as a symbol for a renewed sense of heritage within Ireland. New versions of the high cross were designed as fashionable cemetery monuments in Victorian Dublin in the 1860s. From Dublin the revival spread to the rest of the country and beyond. Since the Celtic Revival, the ringed cross became an emblem of Celtic identity, in addition to its more traditional religious symbolism. Alexander and Euphemia Ritchie, working on the Isle of Iona in Scotland from 1899 to 1940, popularized use of the Celtic Cross in jewellery. During the 19th century, the local government of Guildford placed a Celtic cross on the top of Hindhead on the site of a gibbet on Gibbet Hill, to dispel the local fear of bad spirits.[citation needed] As this was the place of the relatively superstitious broomsquire,[citation needed] the local Surrey populace found solace in the symbol.

Celtic Symbol, 43 x 42 mm, two-faced design, Antique brass plated

Celtic Symbol, 40 x 40 mm, two-faced design, Antique brass plated

A Celtic cross is a symbol that combines a cross with a ring surrounding the intersection. The symbol has ancient origins and was likely a regional variation of the "sun cross" (which has arms that do not extend outside the circle). When Christianity spread to the British Isles, the Celtic cross was combined with the Christian cross. As a result, Christian high crosses (which are made of stone and richly decorated) are often, though not always, built in this design. It is widely accepted that the Celtic cross has ancient, pre-Christian origins. It is similar to the so-called "sun cross", which can be found in Bronze Age Europe (Nordic Bronze Age, Urnfield culture). The archaic English word for cross as an instrument of torture is rood (literally "pole", cognate with rod). The word cross in English derives only indirectly from Latin crux via Old Irish and possibly Old Norse, introduced in the 10th century. Celtic crosses may have had origins in the early Coptic church. The similarity between the ankh, symbol of "life" and variations of the cross or ankh with a circle on Coptic stella and textiles from as early as the 5th century clearly show that the combination of circle and cross were used in early Christian Egypt. Although some experts say that the crosses were originally carved horizontally on stone, their geometrical ring construction and the fact that the lights in east-facing high crosses can be seen to refract early morning sunlight is indicative of vertical construction.

Old-greek goddess, 35 x 35 mm, Antique brass plated, two-faced design

In Greek mythology Medusa (Greek: Μέδουσα (Médousa), "guardian, protectress") [was a Gorgon, a chthonic female monster, and a daughter of Phorcys and Ceto; Only Hyginus, (Fabulae, 151) interposes a generation and gives another chthonic pair as parents of Medusa; gazing directly upon her would turn onlookers to stone. She was beheaded by the hero Perseus, who thereafter used her head as a weapon until he gave it to the goddess Athena to place on her shield. In classical antiquity the image of the head of Medusa appeared in the evil-averting device known as the Gorgoneion.

Old-Germanian Symbol, 35 x 35 mm, two-faced design, Antique brass plated

The Merovingians (also Merovings) were a Salian Frankish dynasty that came to rule the Franks in a region (known as Francia in Latin) largely corresponding to ancient Gaul from the middle of the fifth century. Their politics involved frequent civil warfare among branches of the family. During the final century of the Merovingian rule, the dynasty was increasingly pushed into a ceremonial role. The Merovingian rule was ended in 751 when Pepin the Short formally deposed Childeric III, beginning the Carolingian monarchy. They were sometimes referred to as the "long-haired kings" (Latin reges criniti) by contemporaries, for their symbolically unshorn hair (traditionally the tribal leader of the Franks wore his hair long, as distinct from the Romans and the tonsured clergy). The term "Merovingian" comes from medieval Latin Merovingi or Merohingi ("sons of Merovech"), an alteration of an unattested Old West Low Franconian form, akin to their dynasty's Old English name Merewīowing, with the final -ing being a typical patronymic suffix.

Norse Symbol, 28 x 40 mm, two-faced design, Antique brass plated

In Norse mythology, Jörmungandr (pronounced [ˈjœrmuŋɡandr]), mostly known as Jormungand, or Jörmungand (Old Norse: Jǫrmungandr), or Midgard Serpent (Old Norse: Midgarðsormur), or World Serpent, is a sea serpent, and the middle child of the giantess Angrboða and the god Loki. According to the Prose Edda, Odin took Loki's three children, Fenrisúlfr, Hel and Jörmungandr, and tossed Jörmungandr into the great ocean that encircles Midgard. The serpent grew so large that he was able to surround the Earth and grasp his own tail. When he lets go the world will end. As a result he earned the alternate name of the Midgard Serpent or World Serpent. Jörmungandr's arch enemy is the god Thor.

Norse Symbol of Mythology, 35 x 35 mm, two-faced design, Antique brass plated

Naglfar, in Norse mythology, is described in the Prose Edda as a ship made entirely from the fingernails and toenails of the dead. During Ragnarök, Naglfar will be freed from the land and sailed to Vígríðr, the battlefield, by Hrym along with an army of jötunn. The ship will lead hordes against the gods in the last war at the end of time, before a new world will arise from the sea. The ship's name may have originally meant "Wraith ferry," but Snorri Sturluson in the Prose Edda provides a folk etymology of "Nail ferry" (nagel, "nail"), urging that no dead be buried with uncut fingernails, lest any more material be added to it. This lore could not have assumed this form had it not been for a funeral custom of paring the nails of corpses and the desire to make this a pious duty. It has also been suggested that Snorri's "nail ferry" or "nail-farer" is an metonym for a ship which is constructed with nails.