In the previous chapters I suggested the importance of establishing a more critical encounter with early medieval art and imagery in order to establish a shift in nomenclature that, at a fundamental level, resulted in the rejection, or rather letting-go, of the term ‘Germanic’. This chapter will thus be devoted to how we can perceive early medieval art in alternative ways and on different terms. How so? The study of early medieval visual culture has long been dominated by iconographic approaches based on Panofsky’s most influential work.1 His three levels, pre-iconographic description, iconographic analysis, and iconological interpretation,2 are often seen as the most convenient methodological way to interpret the meaning of art and imagery.3