Gol stave church

Gol stave church 2017

The Gol stave church is a museum church in the Norsk Folkemuseum in Oslo and one of the 28 stave churches in Norway with medieval structures. It is a 14-mast stave church, was moved to its current location in 1884 under the direction of Nicolay Nicolaysen von Gol in the province of Viken and reconstructed in 1885 by the architect Waldemar Hansteen based on the model of the Borgund stave church . The mast construction dates from the 13th century. Paintings in the choir and apse are from the 17th century. The roof decoration with the typical dragon heads was modeled on the Borgund stave church.

The church is the second of a total of six staggered stave churches ( Wang 1841–1844, Gol 1881–1885, Haltdalen 1881, Fortun 1884, Garmo 1918–1919 and Øye 1953). Since the church was to be demolished at its place of origin and replaced by a new one, the private antiquity association Foreningen til norske Fortidsminnesmerkers Bevaring initiated the transfer in order to save its building fabric. The King of Norway and Sweden Oskar II paid for the project. The church was initially part of the royal collection of old buildings, which was eventually converted into the public open-air museum in 1907.

The church is now a tourist attraction and one of the main exhibits of the Norsk Folkemuseum. It served as a model for several replicas such as the new stave church built in Gol in 1996 as well as some private replicas in Norway and the USA .

Although the church is only one of the museum's exhibits after its relocation and reconstruction, some Lutheran services and Catholic masses have taken place since 1907. So it is still perceived and used as a church in the sense of a house of God.

location

The current location of the stave church on the Bygdøy peninsula in Oslo

The church is now in the Norsk Folkemuseum open-air museum on the Bygdøy peninsula in Oslo. The peninsula protrudes into the Oslofjord at the northernmost end and is now a museum island with various museums on Norwegian history, such as the Fram Museum and the Kon-Tiki Museum. Museum Island can be reached from the E18 via the Bygdøyveien road .

The stave church is located in a group of three buildings that belonged to the royal collection of Oskar II and can be reached via a specially made portal. Next to the church is a traditional one-room building from Hove in Heddal , Telemark , from 1738 and a richly carved grain house from Støylsemmne in Hylestad , Aust-Agder , from around 1500.

Story up to the transfer

It is believed that the Gol stave church is the successor to a simple wooden church. The first wooden churches were built in the 10th century shortly after Norway was Christianized. They were simple stave churches with a simple structure without additional external cladding with an arcade . The masts were still part of the walls. The first generation of stave churches was characterized by numerous ornaments in portals, pillars and exterior cladding. Some of the carvings were reused in later churches, such as the Urnes stave church . Over the next two centuries, the church liturgy and the conception of the ideal architecture of a church changed. The church was often too small due to the growth of the community, so that a new building was necessary. The later Gol stave church was built at the beginning of the 13th century, as dendrochronological studies show. The oldest parts of the church still preserved today were dated to 1212. The stave church in Gol was first mentioned in a document in 1309.

How the stave church with the partition to the choir might have looked in the past

The building material is resinified pine wood . The tree was cut and the roots dried out on site. The advantage was that it produced more resin as a protective reaction before it dried out , which enabled the wood to be better preserved.

The pillars inside of the stave church from the 13th century have been preserved. Today, from the sources and examinations of the existing entablature, it can be concluded that it was a 14-masted stave church with a raised central section and an apse as well as an arcade (Svalgang). The exterior formwork, the structure of the roof with roof skin and roof decorations, the choir, the apse tower, the design of the arcade and many other details of this church are completely unknown today and can no longer be scientifically reconstructed due to the numerous conversions and extensions and the poor source location become.

Gol stave church in 1846 after a drawing by JN Prahm

The extensions and alterations have been documented since the 17th century: in 1652 the apse planks and the choir walls were painted, and in 1675 a new exterior cladding was built with boards. In 1684 it was documented that the arcade made of vertical planks and round columns on the west side and an arched gable field above the entrance were very dilapidated. It is not clear whether it was subsequently renovated or removed. In 1694 the roof turret and the door between the nave and the choir that was pulled in at the time were renewed .

In 1699 the farmer Bjørn Frøysaak donated a picture of himself and his family in traditional costumes to the parish of Gol. It is a good example of people's attitudes towards the Church and worship. It was customary until the 19th century to wear traditional costumes during services in the stave churches. The picture is now in the collection of the Norsk Folkemuseum.

A new choir in block construction was built in 1730 and was now as wide as the nave. In 1740 the partition between the choir and nave was removed. In 1802 and 1803 the nave was widened to about 8.8 meters by removing the old wall of the ship and building a new wall with new corner pillars, about half a meter from the outer line of the previous portico. A new pent roof was placed on the new wall and the corner pillars. The main roof was extended towards the choir, making the church resemble a basilica . During this renovation, the south portal with the carvings was removed. Part of it probably served as a border around the armory . Almost all of the exterior decorations of the church have been removed. The sacristy attached to the choir is one of the extensions in the 19th century.

Relocation and reconstruction

1881

In the 1870s it was decided that the stave church should be demolished and given way to a larger church. In 1881 the management of the private Norwegian Antiquities Association, which had previously saved the Wang Stave Church from being demolished, began negotiations with the owner to acquire individual pieces of the church for the university. The entire church, including the paintings, could be purchased for 200 kroner - on the condition that the association had to independently transport the church from its current location.

As King Oskar II was the patron of the association, he offered to make space available for reconstruction in his Badstuebråten building park on Bygdøy. The archaeologist of the Antiquities Association, Nicolay Nicolaysen , estimated the cost of transport and restoration at at least 4000 crowns. The plan was to transport the church across the frozen lake Krøderen by sledge . However, the unfavorable weather conditions in the winter of 1881/82 initially prevented this.

1882/83

The antiquity association called for a fundraising campaign with an advertisement in the press and displayed drawing lists in Aschehoug and Cammermeyer's bookstores and in all public rooms in the city of Oslo. However, the collection only produced a fraction of the estimated cost (387 kroner or 423 kroner depending on the source).

Since the antiquity association had to wait for ideal weather conditions, the previous owner offered that the church could remain at the old location until the weather conditions were suitable for transport. As early as 1882, about 500 meters northeast of the original location of the stave church in Gol, construction work began on a new long church with approx. 500 seats; The architect was Johannes Henrik Nissen . On Bygdøy, the stone foundation for the reconstruction was built and the plans for the construction were drawn up. But even the winter of 1882/83 did not allow transport.

1884

The church from behind.

In March 1884, the church was ready for removal. However, the antiquity association was only able to collect a fraction of the cost of the relocation, which has now been estimated at 6500 crowns. Therefore, the king had the administrator of the royal court and the building park inform that he would pay for the missing amount.

This year the church was dismantled into its individual parts, brought down to the valley in sledges and transported from Gulsvik across the frozen lake Krøderen to the train station of the same name. The parts finally left Viken unscathed by train and arrived in Christiania (Oslo).

Architect Waldemar Hansteen and master builder Torsten Torstensen were responsible for the reconstruction. Its aim was to reverse the changes in the past decades towards the basilica, to give the church the most authentic appearance possible and to restore the details of earlier centuries that are relevant from the point of view of monument protection . Since it was no longer possible to determine what the exterior of the stave church had looked like in the 13th century, Hansteen took the missing parts from the Borgund stave church . The roof decorations with the dragon's heads as well as the arcade and the apse are therefore modeled on the Borgund Church, which has also served as a model for many other church reconstructions and is the only stave church that still has an authentic exterior shape. The ornamental, cantilevered verge cornice of the gable roofs is modeled on the Hopperstad stave church . The carvings of the south portal were also made during the reconstruction based on the example of the west portal.

Architecture and interior design

Roof construction

Six-level structure. Apse made up of three levels of conical roofs. Choir with its own gable roof. The ship carries a ridge turret with a gable roof and two pyramid roofs

Roof with five rafters, the three inner scissor rafters and the choir-side rafter are reinforced with a collar beam

The church has a six-tier roof structure based on the model of the Borgund stave church with two steps with pent roofs that cover the nave and the choir at the same time, one step with a gable roof , with the nave and choir each having a gable roof of different heights. On the gable roof of the ship there is a ridge turret with a monopitch roof and two tiered pyramid roofs. This multiple structure with increasingly smaller roofs makes the church appear higher than it actually is through an optical illusion. This was supposed to emphasize the orientation of the building towards heaven and thus towards the divine.

The apse consists of three tiers of conical roofs , whereby the lower two tiers are cut off by the construction similar to the monopitch roofs of the ship in order to enable a multi-tier construction, and are also cut off on the west side by the choir.

The gable roofs above the portals have crosses on all sides. The apse tower and the saddle roof of the choir also each bear a cross. On the two gable roofs of the ship are the flickering dragon heads typical of Viking ships in east and west direction . The roof decorations on the ridges of the gable roofs consist of wooden circles strung together. The verge cornice of the gable roof consists of zigzag-like , interwoven ornaments with dragon figures attached at the bottom. This was modeled on the Hopperstad stave church. In contrast to the Hopperstad Church, where these were made from one piece, they consist of individual rods that were nailed to the plank. The many crosses and figures could fulfill the same apotropaic function to ward off the demonic as the gargoyles on stone churches.

Inside the ship you can see the open construction of the lower saddle roof, which consists of five rafters with two inner scissor rafters and collar beams. The rafters carry a ridge beam.

The roof cladding consists of a uniform shingle , which, unlike in Borgund stave church, is not additionally attached with wooden nails. Also in contrast to the extensive shingling of the Borgund stave church, only the top cylinder of the apse tower and the sides of the gable roof of the nave are additionally provided with shingles. Shingles and masts are regularly (every two to five years) given a tar coating, which protects the church from the effects of the weather. This paint gives the church the dark color characteristic of older Norwegian stave churches.

The front gable of the first gable roof carried a plate with a gable top and a gable cross. On it were the royal crown and, in the middle, the number II, as an indication of the temporary owner King Oskar II. Below was the year 1884 in Roman numerals. The plate was removed in the post-war years; presumably because it did not match the appearance of a classic stave church.

Arcade

The church probably had an arcade (Svalgang) since its construction, which served as a refuge for the community before and after the service in rainy weather conditions and as a storage place for weapons during the service. It was the forerunner of the later armory and also protected the church walls from moisture and other influences of the weather. The arcade was removed during the renovation work in 1802 and 1803 when the nave was widened. It therefore had to be completely reconstructed at its current location.

Today the church has an arcade with dwarf arcades based on the model of the church in Borgund. The outer wall is made up of upright boards and horizontal beams. On the uppermost beam, pillars are attached, which consist of a base with a square floor plan and a semicircular side plan as well as a cylindrical shaft and a cube capital . These pillars support the arcade arches and horizontal beams that serve as roof supports with the corner masts.

Foundation structure (high pillar construction)

Four masts on one long side. Second mast floating from the left. St. Andrew's cross between two horizontal beam clamps. Above and below, Knaggen form arcades. At the top there is a paneling with light openings. The first three masts with masks and the corner mast with a pin.

The church is a 14-mast stave church, with the third mast (= column) on the long side and the two middle masts on the narrow side floating. So they end above the lower beam clamps , thus increasing the free passage between the columns and giving the room a more open appearance. Floating masts were only built in later stave churches, when enough experience had been gathered about the statics of the high column structures . The masts stand on a rectangular beam frame in the floor. These column constructions on the base beams are primary (in their original state).

The church has a transverse floor beam, which lies below the floating masts on the long sides. This was most likely attached later (secondary). Except in Reinli stave church, there is no crossbeam in any stave church, and it is also secondary there.

The masts are held together with two beam clamps, between which St. Andrew's crosses are attached. Below the lower beam tong and the lower wall bar are lugs which arcades form. The pillars support an upper horizontal beam and are held in shape by a lower transverse beam that lies in a groove in the pillars. Between these two horizontal beams there is a cladding made of vertical boards with round light openings.

With the exception of the masts in the corners, all masts end in carved masks, each with an individual facial expression. The corner pillars end a little higher and support the roof with the upper horizontal beam. A horizontally positioned lug in each corner at the level of the upper horizontal beam connects the long and narrow sides.

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  Layout

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  cross-section

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  Longitudinal section

Portals

The newly carved south portal in Bygdøy based on the model of the preserved west portal

The church has three portals: a west portal, a south portal and a portal in the choir, also facing south. Although the roof construction of the church is symmetrical and therefore suggests a portal to the north, this is missing. It can no longer be proven whether the church ever had a north portal.

The west portal has largely been preserved, but required extensive restoration due to structural changes in the 19th century due to a decree following a fire in the Grue church , which cost many people their lives. Since then, all churches in Norway have had to have doors that could be opened to the outside world.

The west portal consists of half-columns with cylindrical bases and capitals and a horizontal lintel . The planks above the lintel were missing and have been re-carved. The carvings in the so-called Sogn style depict tendril patterns and fighting dragons. A figure is carved at the same height on each of the two pillars, which blows air out of the mouth and is reminiscent of earlier Odin images. The door leaf has two wrought iron fittings with a key plate and door ring. A ghost threshold is attached below .

The south portal had fallen into disrepair and was re-carved in Bygdøy based on the model of the west portal. So it now looks like a copy with a few differences. Side planks with a planed profile and straight lintel planks have been preserved from the choir portal.

Paintings

Paintings in the apse and the choir from 1652

Painting in stave churches became common after the Reformation of 1537 to emphasize Lutheran teaching. In the apse there is a reconstructed painting from 1652. The apse and choir boards were reused in the ceiling of the new choir when the choir was enlarged in 1802 or 1803, and thanks to the painting during the reconstruction at the end of the 19th century Century can be reassembled correctly.

Although Waldemar Hansteen had the task of putting the church in a pre-Reformation state, removing all changes and objects from the Lutheran period and adding Catholic objects from the period to the church, he painted the apse out of respect for artistic achievement and the choir restored from the Lutheran era.

The picture in the apse shows a sacrament scene with Jesus Christ and the twelve apostles above . Above is from the Revelation of John chapter 20 verse 6 in Danish , beginning with “Salig oc hellig er den, som haffuer Deel i den første Opstandelse; offuer disse haffuer den anden Død ikke Magt. " (In German: " Blessed is he who partakes in the first resurrection. The second death has no power over this. " ) This is followed by Luke chapter 22 verse 15/16 with one Quotation of the Eucharist "Jeg say til dem haffuer hiertelig forlangt at æde / dene Paaskelam med Eder førend every lider, thi every siger Eder, at every shall ingenlunde mer æde deraf indtil det bliff fuldkommet i Gudsrige." (In German: "Mich has cordially demands to eat this Easter lamb with you before I suffer, for I tell you that from now on I will not eat of it until it is fulfilled in the kingdom of God. ” Left and right four fruit arrangements are shown. In a cartouche to the left of the Eucharist scene there is a Danish dedication for the church and the year "ANNO: 1652:" . On the right side, in a cartouche, is the name of the founder, Hans, as well as a repetition of verse 6 of chapter 20 of Revelation. Arcade windows are painted below the Last Supper scene, which were also painted in the choir room on both sides at the same height.

On the north wall are the names of good community members and sponsors of the painting as well as the names of two lower officials in cartouches. In the upper left cartouche it says: “Paa denne Side haffuer desse effterfølgende cheer / Knud Amundsøn. G. Errik Hauarsøn. H. Stener / Halvorsøn H Peder Gulbransøn. N. Siffuer Pouels / oc Guttorm Iffuersøn. ” . In the top right-hand cartridge it says: “De paa den anden Side haffuer disse efter / skreffne cheered Tollef Frøsager / Haor Gugsta (? Not quite decipherable). Mikel Golberg Peder N ” . In the lower right cartridge it says: "Hauor Storla Iffuer Hetla, Errik Hetla Jacob / Ersgard Knud Brek Haluor Golberg" . The lower left cartridge is without text.

On the left side of the choir room opposite the choir portal, the evangelists are shown sitting and writing. Each evangelist has his name written on it and his corresponding attribute (bull, human, eagle or lion) is shown next to him. Above left is Matthew , above right Mark , below left Luke and below right John . The name “Iffuer. Kineberig " . Maybe that's the painter's name.

The pillars of the inner pillar construction were also probably painted like marble after the Reformation to imitate marble pillars in stone churches.

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  The four evangelists on the left of the choir

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  Last supper scene in the apse

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  Painting on the right side in the choir near the choir portal

Facility

The photograph of the interior (1885–1890) by Axel Lindahl shows some furnishings shortly after completion: two candle chandeliers , one in the nave and one in the choir; the chair from Heddal Church on the left in the picture; the altar in the apse, also from Heddal Church.

The collection includes a 13th century chair from Heddal stave church . It is richly carved and shows on its back below two lions with paws. The lion on the left is attacked by a dog-like animal with its mouth open and there is a tendril under it. To the left of this scenery is an ornament. The lion on the right is also attacked with an open mouth by a dragon. A dragon fight is depicted below and next to him. On the back of the backrest there are several interwoven dragons biting into one another, attacking a human figure with tied hands in the middle of the backrest. The sides of the backrests are decorated with carved dragon heads, reminiscent of the dragon heads on the gable roofs. The side plates and armrests are decorated with tendrils and the armrests end in carved heads. The left head wears a helmet, the right a crown.

Shortly after the reconstruction, the interior also included double tire chandeliers that were installed in the nave and in the choir.

The crucifix in the nave above the St. Andrew's cross on the choir side dates from the 14th century and was originally in the demolished Veum stave church in Telemark. It is a dark cross with the words "INRI" and a white painted body of Jesus Christ, who wears orange and gray robes around the loin.

The altar comes from Heddal stave church. Jesus Christ is depicted, the four symbols of the evangelists in the middle and two groups with three apostles on each side.

The altar, crucifix, chair and chandelier, which had been installed in the church after the reconstruction and were intended to ensure an authentic appearance of an original stave church, were removed in the post-war years. The desire for protection against theft and damage, but also considerations for better storage of the irreplaceable original objects, may have played a role in this decision.

On the north side there are notches from a row of probably low benches. These were probably removed or replaced when the interior space had become too small for the larger community. The south side should also have had a row of seats. This seating was no longer reconstructed, as it was made after the Reformation and did not fit into an original Catholic stave church. Today there are low benches with semicircular arched openings on the walls of the nave .

There are some notches on the southeastern pillars of the ship, which indicate the location of an earlier pulpit . This was built in during the Lutheran period and removed again during later renovations. It was no longer there at the time of the transfer. Notches also suggest that the church once had lateral galleries like the Heddal stave church to remedy the increased need for space. These were also no longer available when the transfer was made.

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  The painting on the front of the altar

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  The back of the chair

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  The side view of the chair

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  Side view and scheme of the chandelier

Incisions

There are several incisions in the primary structural elements of the church. These can be divided into two types: runic inscriptions and figurative representations.

The authorship is a mystery. It is possible that the first incisions were made by the carvers of the portals and the other carved ornamentation, as some figurative ornaments show similarities with carvings on the portals. Alternatively, it can be assumed that parishioners made these incisions over time. Some circular ornaments and triskeles are believed to have originated during the initiation process.

Runic inscriptions

In contrast to other churches, very few of the thirteen runic inscriptions have been deciphered. The three most unmistakable inscriptions are as follows:

• a) paternoskies b) inslis : Is Latin transcribed in runes, which means “Pater noster qui es in celis” (“Our Father in Heaven”).
• raþrettru (n) arþesar : Is Old Norse and means "Give these runes their correct meaning".
• gysamikþatekerfiþar : Is also Old Norse and is interpreted as "kiss me for my trouble and my ambition". It is not clear to which recipient this inscription is addressed.

In the case of an inscription in a different style, each character is separated from the next by a colon. It is believed that these are the first letters of a Latin liturgical text. The first seven runes (kekhnke) appear again in two other places in the church. Another inscription is formed from the first three runes of the Futhark , another is probably the name of a woman (hl bjork) . An inscription is probably a fragment of a Latin text (nonsiþ) “non sit” for “it is not”. An inscription (ætþffssantætþffssant) is probably not to be interpreted as text; because of the repetitions of the characters and strings, it is believed that these runes were carved as a kind of spell because of their magical symbolism.

Figurative representations

Examples of the incisions on the north wall of the choir

Figurative representations can be found most prominently in the choir area, on the pillars of the ship as well as on the western porch and on the north wall. They can be divided into four groups: ornamental depictions of plants (tendrils and leaves), geometrical figures (mainly ornaments made of circles, a series of triskeles and some valknuts ), figurative ornaments (lions, lion heads, dogs or wolves, dragons, horses, reindeer, an armed rider) and two depictions of sailing ships .

The ornaments made of circles are one on each side of the choir and one on the west side of the ship. All are about two meters from the ground. There is also an ornament made up of thirteen circles, with twelve circles arranged around a central circle.

The plant ornaments have probably existed since the church was built and can therefore be dated to the beginning of the 13th century. The geometric figures may come from later times. Some circles and triskeles were probably added during the dedication of the church. The depictions of sailing ships were probably only added in the 16th century. The remaining representations cannot be dated, but they were probably scratched during the Catholic period of the church.

Replicas

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  In the Norwegian Pavilion of the Epcot amusement park in Orlando , Florida , USA.
  Built in 1982
  28 ° 22 ′ 14.22 ″ N
  81 ° 32 ′ 49.31 ″ W

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  The new stave church in Gol in Middelalderparken
  Completion 1994

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  Copy of Gol Stave Church in Scandinavian Heritage Park , Minot , North Dakota , USA Built 1999–2001
  48 ° 13 ′ 35 ″ N
  101 ° 17 ′ 52.55 ″ W

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  Private replica Stavkirka på Savjord built 2005-2006 in Beiarn in the province of Nordland

Epcot, Orlando

A small copy of the Gol stave church was made for the Norwegian pavilion of the World Showcase in the amusement park Epcot , which opened in 1982 . However, this only corresponds in the external details such as the roof proportions of the ship, the shingles, the roof decorations with the dragon heads of the Gol stave church. Instead of the crosses on the gable roofs of the portals, simpler bars are placed. The builders also did without the choir and the apse, instead using a portal on this side. Due to the newly gained symmetry, the building looks very pagoda-like . The interior does not resemble a stave church either, but is an exhibition room for Norwegian history that can be entered from both sides.

Middelalderparken, Gol

The people of the Gol community regretted the loss of their church when stave churches became a tourist attraction and an economic factor. Gol is a center of tourism. The private entrepreneur Per Herbrand Rustberggard therefore decided to make a copy of the reconstructed church of the open-air museum in Oslo. To do this, he founded a stock company that was responsible for the construction. This copy stands today in a "Middelalderparken", which was built at the same time, is far removed from the original church square and has good traffic connections, with additional replicas of medieval buildings. The Bishop of Tønsberg , Sigurd Fredrik Osberg , laid the foundation stone in a celebration in 1993. On May 16, 1994, there was an attempt at arson by a 21-year-old arsonist. In the summer of 1994, the church was consecrated by the bishop in the presence of Princess Ragnhild and other celebrities.

In contrast to the model in Oslo, the new church has a north portal. It also has additional furnishings. A bench, a chair, an altar, a cupboard and a baptismal font were made of wood for the church in the choir. The church was not painted in the style of the time after the Reformation. The apse planks are covered with a blue cloth with golden vertical stripes.

Scandinavian Heritage Park, Minot

A copy of the Gol Stave Church was made for the Scandinavian Heritage Park in Minot , North Dakota , USA , which, like the copy in Gol, comes very close to the original in Bygdøy. Else Bigton and Phillip Odden, who had already been involved in the construction of the stave church in Epcot, worked on the carvings. A difference to the original are the wider portals, which resulted in a slight change in the carvings. One portal was completely carved in the USA and is made of American pine ( Pinus lambertiana ). The second portal was originally made in Norway from Norwegian pine ( Pinus resinosa ) for the stave church in Epcot. It was finally completed in the USA from Weymouth pine wood. For the church, benches, chairs and an altar for the choir and a cross for the apse were made after the model of the furniture in Norwegian stave churches. Construction began on October 12, 1999 and completed on October 9, 2001.

Stavkirka på Savjord, Beiarn

In 2005, the then 73-year-old retired carpenter Magnus Stensland received media attention, who built a small copy of the Gol stave church in his garden. Today it is the northernmost stave church in Norway. The almost 10 meter high church was built from more than 1500 meters of plank wood. Over 4,200 shingles were used for the roof. It was completed in 2006.

See also

• List of stave churches

literature

• Claus Ahrens: The early wooden churches in Europe . In: Archaeological State Museum Schleswig: (Hrsg.): Writings of the Archaeological State Museum . tape 7 . Theiss Verlag , Stuttgart 2001, ISBN 3-8062-1397-6 (with catalog, 2 volumes).
• Gunnar Bugge: Stave churches in Norway . Dreyer Forlag (self-published), 1983, ISBN 82-09-01929-5 (English edition).
• Gunnar Bugge: Stave Churches in Norway . Dreyer Forlag (self-published), 1984, ISBN 82-991121-0-9 (German).
• Gunnar Bugge, Bernadino Mezzanotte: stave churches. Medieval architecture in Norway . 1st edition. Pustet, Regensburg 1994, ISBN 978-3-7917-1414-1 .
• Nicolay Nicolaysen: Illustrator Til Gols Gamle Stavkirke og Hovestuen paa Bygd . In: Gols gamle Stavkirke og Hovestuen paa Bygdø Kongsgaard., Med Illustrationer, uddeles som gave fra Hans Majestæt Kongen . AW Brøggers Bogtrykkeri, Christiania (Oslo) 1885.
• Waldemar Hansteen : The Gamle Stavkirke fra Gol i Hallingdal . In: Gols gamle Stavkirke og Hovestuen paa Bygdø Kongsgaard., Med Illustrationer, uddeles som gave fra Hans Majestæt Kongen . AW Brøggers Bogtrykkeri, Christiania (Oslo) 1885.
• Eva Valebrokk, Thomas Thiis-Evensen: Norwegian stave churches . Architecture, history and traditions. 3. Edition. Boksenteret, Oslo 1999, ISBN 82-7683-012-9 .
• Yasuo Sakuma, Ola Storsletten: The stave churches of Norway . Masterpieces of Nordic architecture. Bechtermünz, Augsburg 1997, ISBN 3-86047-239-9 .
• By and bygd . Norsk Folkemuseums årbok 1955–56, 10th årgang [year]. Johan Grundt Tanum, Oslo 1965.

Web links

Commons : Gol Stave Church  - Collection of images, videos, and audio files

Commons : Replicas of Gol Stave Church  - Collection of images, videos and audio files

Individual evidence

1. ↑ ^{a b c d e f} Jørgen H. Jensenius: FRA EN OMVISNING I GOL STAVKIRKE . Middelalderforum, No. 2/1996: 15-23. Archive link ( Memento of the original from July 4, 2010 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. 
2. ↑ ^{a b c d e f g h i j k l m n o} Claus Ahrens: The early Holzkirchen Europe. Catalog . Konrad Theiss Verlag GmbH, Stuttgart 2001, ISBN 3-8062-1397-6 , p. 284
3. ↑ ^{a b c d e f g} Yasuo Sakuma, Ola Storsletten: The stave churches of Norway. Masterpieces of Nordic architecture . Bechtermünz-Verlag, Augsburg 1997, ISBN 3-86047-239-9 , pp. 78-83
4. ^ ^{A b} Peter Knolle: South Norway dream landscapes stave churches Scandinavia . Bavarian Video, 2005, ISBN 978-3-89763-851-8 .
5. ↑ Eva Valebrokk, Thomas Thiis-Evensen: Norway's Stave Churches, Architecture, History and Legends . Boksenteret, Oslo 1994.
6. ↑ ^{a b c d e} Annual reports of Fortidsminneforening 1881–1884
7. ↑ Toned Hegard: Romantikk og fortidsvern. Histories of the Første Open Air Museum in Norway . Universitetsforlaget, Oslo 1984
8. ↑ ^{a b} Waldemar Hansteen: The gamle stavkirke from Gol i Hallingal . In: Gols gamle Stavkirke og Hovestuen paa Bygdø Kongsgaard., Med Illustrationer, uddeles som gave fra Hans Majestæt Kongen . Christiania 1885.
9. ↑ Aug. Sundby: Regnskabsdedetailler vedkommende opførelsen af ​​Gols stavkirke . In: Gols gamle Stavkirke og Hovestuen paa Bygdø Kongsgaard., Med Illustrationer, uddeles som gave fra Hans Majestæt Kongen. , Christiania 1885
10. ^ Claus Ahrens, The early wooden churches of Europe , p. 411 ff
11. ^ ^{A b} Erich Burger: Norwegian stave churches - construction, history, jewelry . DuMont Buchverlag, Cologne 1978, ISBN 3-7701-1080-3
12. ↑ ^{a b c d} Nicolay Nicolayson: Illustrationer til Gols gamle stavkirke og Hovestuen paa Bygdø Kongsgaard. In: Gols gamle Stavkirke og Hovestuen paa Bygdø Kongsgaard., Med Illustrationer, uddeles som gave fra Hans Majestæt Kongen. Christiania 1885
13. ↑ Information page on Norsk Folkemuseum about the church
14. ↑ Leif Anker: Kirker i Norge, Middelalder i tre - Stavkirker . Arfo, Oslo 2006
15. ↑ ^{a b c d e} Martin Blindheim: Ristningene i stavkirken fra Gol . In By og bygd . 10th year, Oslo 1956, pp. 55–70.
16. ↑ Aslak Liestøl: Runeskriftene i Gol stavkyrkje . In: By og bygd . 10th year, Oslo 1956, pp. 55–70.
17. ↑ Kj. S .: Biskopen la grunnsteinen (PDF; 1.2 MB)
18. ↑ Det hendte i 1994. www.kirken.no, accessed on June 14, 2009 . 
19. ^ Claus Ahrens: The early wooden churches of Europe . Konrad Theiss Verlag GmbH, Stuttgart 2001, ISBN 3-8062-1397-6 , p. 420
20. ↑ Information page of the Norsk Wood Works ( Memento of the original from March 10, 2009 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed March 9, 2009  
21. ↑ Information page of the Scandinavian Heritage Association ( Memento of the original from November 19, 2008 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. , accessed March 9, 2009 
22. ^ Dag Petterson: 73-åring bygger egen stavkirke . In: TA, August 10, 2005 [1]
23. ↑ NTB: Bygger stavkirke i hagen . In: Afternbladet.no, August 28, 2005 [2]  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.  

Coordinates: 59 ° 54 ′ 28.8 ″  N , 10 ° 41 ′ 0 ″  E

This version was added to the list of articles worth reading on May 26, 2009 .