"Sagfjord kyrkje" (3 of 5)
Description
The pulpit and altar panel at Sagfjord are in the baroque style, probably dating from the first half of the eighteenth century. They came to Sagfjord from Presteid, where they had probably been located both in a church dating from 1655 and thereafter in one dating from 1775.
The altar panel is a portal panel, its sides decorated acanthus style. There are slender, elegant acanthus tendrils with a curved and broken band through the tendrils. In the centre section there is a crucifixion motif with six carved wooden figures. The wooden sculpture is of short human figures with flat faces, clad in classical, heavy drapes. The altar panel is probably from Bergen and may have been fashioned by the picture carver Georg Christoffer Schauer, who was active in Bergen from 1703 to around 1750. The covered pulpit is an octagonal shape, made of panelling, with columns and richly-profiled timber-work.
Both the pulpit and the altar panel are today painted a light blue main colour, with additional use of white and gold. It is doubtful that these were the original colours. These light colours probably date from the restoration during the nineteenth century, when such a colour scheme was common.
The altar panel is a portal panel, its sides decorated acanthus style. There are slender, elegant acanthus tendrils with a curved and broken band through the tendrils. In the centre section there is a crucifixion motif with six carved wooden figures. The wooden sculpture is of short human figures with flat faces, clad in classical, heavy drapes. The altar panel is probably from Bergen and may have been fashioned by the picture carver Georg Christoffer Schauer, who was active in Bergen from 1703 to around 1750. The covered pulpit is an octagonal shape, made of panelling, with columns and richly-profiled timber-work.
Both the pulpit and the altar panel are today painted a light blue main colour, with additional use of white and gold. It is doubtful that these were the original colours. These light colours probably date from the restoration during the nineteenth century, when such a colour scheme was common.