Obdormio.com Unwasted Hours

2 July, 2012

Interiors, with a Smattering of Hagiography

Filed under: Uncategorized — Tags: , , , , , — Obdormio @ 00:00

To finish up my primer on St. John’s Church in Bergen, here is a bit about the interior of the church. I ought to rework these posts into an informative pamphlet after this!

Let’s tick these off one by one, starting with the lights.


When it was built, the church was outfitted with a very modern gaslight system. The gaslight fixtures are still all in place – you can see some of the pipes crossing the ceiling in this picture – but they have of course been retrofitted for electricity. Keeping the old fixtures helps preserve the period feel of the room.

Baptismal fontPulpit

Moving on to something a bit more decorative, have a look at the font, pictured over there on the left. It is carved from a block of stone, in the same neo-Gothic style as the rest of the church. Some sources say that it is carved from sandstone, others say soapstone. I don’t know anywhere near enough about stone myself to tell which is correct, but the soapstone explanation seems to be slightly more common in the material I have read. It was carved by the sculptor Wilhelm von Hanno. It is a beautiful font. Unfortunately it is slightly broken – a couple of the columns have been broken off – though the damage isn’t visible on my photo. When it is in use, a silver dish is placed in its bowl to hold the water.

The pulpit of the church is a gorgeous piece of construction. It is made of oak, and carved and gilded for decoration, still in neo-Gothic style. The antependium on the pulpit is the only piece of liturgical colour in the church. The overhang makes the pulpit appear almost like a little church within the church.

St. Sunniva of Selja

St John the Evangelist

At the entrance to the quire there are two statues hanging on the wall, one on either side. These are both replicas of statues from Nidaros Cathedral in Trondheim, the only monumental cathedral we have in Norway. On the right hand side, right next to the pulpit, there is a statue of St. John the Evangelist. You might think that this would be a heavy weighing argument in the debate on who the church is named for, but these statues are a fairly recent addition to the church. If this statue reflects anything, it is the views of the parish priest who ordered it, not the intentions of the parish founders. Nevertheless, though, it gives the Evangelist a tangible presence in the church, something the Baptist lacks. If you compare the statue with the original from Nidaros, you’ll see that some changes have been made. The original is depicted holding a book, sensible for an Evangelist, while the statue in St. John’s is shown holding a cup. I do not know why this change was made, but the cup is also a symbol associated with John the Evangelist in art, and the change could perhaps be nothing more than a result of the tastes of the priest who commissioned the statue.

Opposite St. John, on the left side of the quire, there is a statue of St. Sunniva, the patron saint of Western Norway. According to her legend, she was an Irish princess, who fled her heathen husband by setting herself adrift on the sea. She came ashore at the Norwegian island of Selja, and lived there for a bit before heathen Vikings came to root her out. She and her followers hid in a cave, and were miraculously saved from the heathens by a rock slide which sealed the cave, burying Sunniva and her followers and preventing them from falling into Viking hands. As miracles go, this one has always struck me as getting the short end of the stick, but when the cave was opened many years, Sunniva’s body was supposedly found intact, and she was proclaimed a saint. The statue holds a rock, one of the rocks that killed-slash-saved her. This statue has also been altered slightly compared to the original, but the differences are minor in this case.

Finally, there is the altarpiece.


The altarpiece, like the pulpit, is carved oak, with red and gold decorations. The central painting is flanked by statues of Moses and Aaron. Or at least I’ve been told it’s Aaron. It seems a funny choice to me. I mean, it’s a man with a stick in a toga, it could be anyone. Aaron is so rarely depicted in art that he doesn’t really have any distinguishing symbols associated with him, unlike Moses with his tablets. Personally, I would have gone with a New Testament figure, probably Paul, for symmetry. Moses on the left hand pointing ahead, Paul on the right pointing back, with the painting of Jesus in the middle, that sort of thing. Anyway, official word is Aaron, just to go with Moses, I suppose.

The central painting, “Christ in Prayer”, is by Marcus Grønvold, and was painted for the opening of the church in 1894. It illustrates Mark 1:35, which is quoted beneath the painting: “Very early in the morning, while it was still dark, Jesus got up, left the house and went off to a solitary place, where he prayed.” I have been told this is the only altarpiece in the world to illustrate this particular passage. The painting was stolen in 1981, cut out of its frame. The thief turned out to be mentally disturbed; he kept the painting rolled up with him in bed. It was heavily damaged, but it was successfully restored and is back in its proper place.

And that’s it. I think I’ve unloaded all the main bits of knowledge I have been bursting to spew at the tourists. Now I can face their disinterested masks for another week.


  1. Moses og Aron, ja. Dei er ikkje so sjeldne, visstnok. Eg har vore på stavkyrkjesafari i Valdres, og der støytte eg på dei i Høre stavkyrkje. Eg skal sei frå når eg får lasta opp bileta og laga eit innlegg, men dei er verdt ei synfaring – dei ser reint mongolske ut, mine to.

    Comment by Mari — 2 July, 2012 @ 10:09

  2. Kanskje Aron i smug har massevis av statuer rundtom i Noreg, og ingen ute i den vide verda er klar over det?

    Comment by Obdormio — 2 July, 2012 @ 17:14

  3. Yet another interesting post. Remind me, by the way, if I ever somehow become a billionaire, to buy and donate a statue of the Baptist to the church. Just to even the playing field.

    Comment by Loki — 2 July, 2012 @ 13:36

  4. But where would it go? Everything’s already symmetrical! Would you evict Sunniva?

    Comment by Obdormio — 2 July, 2012 @ 17:15

  5. I’m their multibillionarie benefactor donating a statue, not their interior design specialist. Maybe I could stretch myself to offer them a small stipend to hire you as an expert consultant to determine where the statue should go.

    Comment by Loki — 2 July, 2012 @ 17:38

  6. Maybe you could place it on the gallery on the right hand side, across from the angel the opera choir tries to sneak in every year. It would have to be quite large, though, to match the angel – but being a multibillionaire that shouldn’t be much of a problem.

    Comment by Mari — 6 July, 2012 @ 12:22

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