glitt-rer bag over Lyn-get, over Lyn-get!”
II.
THELEMARKEN.
LYSTHUS—COMPONENT PARTS OF TRAVEL—HITTERDAL CHURCH—THE CHAIR—THE CAMP AT SKEJE—FLATDAL—RELICS OF THE PAST—THE ASTONISHED MAGPIE AND UNKNOWN MUSIC—THE COSTUMES OF THELEMARKEN—THE “HULDRE”—THE BEAUTIFUL TROLD—BERGE AND THE MANGLETRÆ—MOGEN—THE PLOUGH, REIN HORNS, AND SNOW SHOES—BOCKLEY AND PUKKINGS—BLACK-BROWN BEER—JAMSGAARD—A NIGHT IN THE LAAVE—CAMP BEDS AND HAMMOCK—BOTTEN—NEW ROAD-MAKING—WEIRD SCOTCH FIRS—A BLASTED FOREST.
HELEMARKEN is a large district, lying in the south-east of Norway, north of Sætersdalen, which is the most southern part of the kingdom. It is characterized by forest, costume, and wood-carving, the latter being applied on a large scale to the external decoration of houses, and especially to the storehouse, which is always a separate building of one story, and locally called the stabur. On the exterior of this structure is lavished all the carving talent and energy of the proprietor and his friends; while inside will be found good old coffers, containing the silver and the tankards, the brooches and the bridal crown, which is handed down from generation to generation amongst the bönder, or farmers. A public parochial crown is sometimes to be heard of, and may be seen at the lawyer’s, for that profession is known in Norway; and, when litigation commences, it is impossible to guess the time over which it may extend. But to return to wood-carving, so important a feature in the dwellings of the inhabitants of this part. A fine specimen of carved lintel, or side-post, is in existence near Lysthus, displaying wonderful solidity, and a flowing Runic design extremely difficult to copy. How was it originated? What was the motif of the design? After making a careful study of it, it appears to be the result of “eyes”—generally associated without hooks—being kept to themselves, and interlaced, one following the other. On trying this, it was found to be practicable and most successful. Talking over this glorious old work with the good housewife, she called her husband, who went off to the stabur, and, quickly returning, told me there was a very old and handsome pair of these lintels lying under the “provision house,” and begged me to accept them in recollection of my visit, and take them back to my own home, that they might give me pleasure there. Great was my wish to accept them, but the difficulty of transit soon flashed across my mind. Our route lay over the Haukelid, with hours of snow—ponies sinking in, and perhaps through. So the transit being impossible, I tendered my thanks for the kindly offer. It was with much regret that I did so, but what could be done hundreds of miles from home, and just starting over the roughest mountain tracts to the north-west of Norway? Nothing but a grateful negative, and a suggestion that they should be given to the next nice young couple who were starting housekeeping. The principal carving, as we have already observed, is lavished on the storehouses; and as soon as a loving couple are engaged, the man begins to build his nest, with nothing much but his axe for strong work and a knife for ornamentation. The latter instrument is most adroitly used by the peasants, cutting all sweeping curves, with the left-hand thumb used as a lever. The house-building is characterized by large timbers squared, afterwards calked with moss, and the ends crossing. As will be hereafter shown, the timbers are generally numbered externally up to twelve, so that they may be easily rebuilt should occasion arise to remove the house elsewhere. Looking at these immense solid timbers, what a contrast they present to modern work; how like their sturdy forefathers, who worked so solidly; how unlike the feather-edged boarding of the new half-civilised houses which are now being introduced near towns, and are flimsiness itself, and only carpenter’s shoddy!
Norwegian Carved Lintels.
