"Polmak kirke" (7 of 7)
Description
The altarpiece now in Polmak Church was first installed in Vadsø Church in 1626. However, in 1722 this was replaced, and the old one with other liturgical articles were moved to Angsnes Chapel (built 1719) in Nesseby. When Nesseby's new church was finished in 1858, the altarpiece was moved once again. In 1969 the final move took place from Nesseby to Polmak. Until then Polmak Church only had a white cross on the altar and this was moved to Sirma/Sirbmá Chapel which is further west on the opposite side of the river Tana.
The name Garbrant Smidt and the year 1626 are written on the altarpiece. Garbrant Smidt is thought to be the name of the man who donated it, and it was most likely made in Bergen. The style is renaissance with its characteristic low relief flat carvings, pilasters, vines and other patterns often found in flat metal ornamentation. The large painting and the round columns are thought to have been added during the first half of the 18th century. Originally there were flat pilasters as on the upper tier. The altarpiece consists of four main parts: the plinth, the main tier, upper tier and the pediment. The central panel depicts the Last Supper with draped cloth and the towers and cupolas of Jerusalem in the background.
The panel on the upper tier shows Christ with the crown of thorns. This might be an attempt to depict the Veil of Veronica, a motive that was used in Norway both before and after the reformation.
The painting on the pediment is a bird with spread out wings. This is the dove symbolizing the Holy Spirit. The altarpiece was restored in 1958 by Odd Helland of the Directorate of Cultural Heritage.
On the hexagonal altar is a pair of old brass candle holders. The church also has a silverware chalice, communion dish and cruet and since 1954 there are also special cups for administering the wine to each worshipper (this practice was first introduced in the Church of Norway during the 1890s as part of the fight against tuberculosis).
The name Garbrant Smidt and the year 1626 are written on the altarpiece. Garbrant Smidt is thought to be the name of the man who donated it, and it was most likely made in Bergen. The style is renaissance with its characteristic low relief flat carvings, pilasters, vines and other patterns often found in flat metal ornamentation. The large painting and the round columns are thought to have been added during the first half of the 18th century. Originally there were flat pilasters as on the upper tier. The altarpiece consists of four main parts: the plinth, the main tier, upper tier and the pediment. The central panel depicts the Last Supper with draped cloth and the towers and cupolas of Jerusalem in the background.
The panel on the upper tier shows Christ with the crown of thorns. This might be an attempt to depict the Veil of Veronica, a motive that was used in Norway both before and after the reformation.
The painting on the pediment is a bird with spread out wings. This is the dove symbolizing the Holy Spirit. The altarpiece was restored in 1958 by Odd Helland of the Directorate of Cultural Heritage.
On the hexagonal altar is a pair of old brass candle holders. The church also has a silverware chalice, communion dish and cruet and since 1954 there are also special cups for administering the wine to each worshipper (this practice was first introduced in the Church of Norway during the 1890s as part of the fight against tuberculosis).
