C O N T E X T 1 1 5 : J U LY 2 0 1 0 33 important pieces of legislation had an impact on the fabric of the church. First, in 1822 it was ordered that the main doors in churches were to open outwards, following a fire tragedy. Second, in 1851 a law was passed that churches should be able to accommodate at least 30 per cent of the parishioners seated. There was a major move in the 1880s for the building of new churches, which made many of the older churches redundant. The society (founded in 1844) was instrumental in saving churches as they became redundant. Borgund was already an attraction for English tourists in the 19th century, getting its first English guide book in the 1870s. The history of the conservation of the churches is one of very considerable restoration in a number of episodes. The early restorations were pretty brutal in removing the later alterations. Things became more sensitive: the usual pattern was that as long as the fittings were attractive in the eyes of the restorers (which included 17th and 18th century wall paintings and furnishings) they were kept, but most traces of the 19th century treatment of cladding and painting them white internally and externally was reversed. There is direct state aid, and support through the local government system for the Church of Norway. All of the churches have had sprinkler systems installed to ensure that they are safe for the future. This followed a fire in the 1990s which destroyed Fantoft church just south of Bergen (the arsonist has just been released from gaol). The consistency of approach to roof construction is apparent and interesting, although needing further study. There are good measured surveys of many of the churches. However, most of those which I have seen reproduced do not penetrate down to the detailed level concerning jointing techniques, particularly with respect to the roofs. The next step for me is to return to do a survey of a roof myself.The obvious candidate is my favourite church at Hegge church which is easily accessible from the inserted 17th century ceiling (luckily not restored away). The early internal decoration of the churches did not involve any elaborate painting, but rather the use of black paint (tar) to enhance the main architectural lines of the churches.The external tarring of the churches is an effective means of the conservation of the buildings, although it is slightly uncomfortable to see a very finely carved portal freshly daubed in tar. This is what we know as Stockholm tar, which is made from pine when making charcoal. It wears off reasonably slowly through the action of the sun and rain (most quickly on the south side of the churches), and is renewed on a regular basis (every 20 or 30 years seems to be the norm). What was the background against which these buildings were erected: what were the parishioners living in? The more substantial farmers, certainly by the 13th century (and there is an example in the Oslo folk museum), were already using log construction. A 12th century prayer written in runes on the inside wall of Hopperstad The 12th century painter signs his name in runes at Høre Late 12th century artistic graffiti of an animal head on the walls of Flesberg, with 18th century paintwork A 12th century capital at Urnes. Many of the designs here can be paralleled in manuscripts such as the Book of Kells.
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