Chapter 2 No.2

THE HARDANGER FJORD (continued)

Hardanger Fjord is most fortunate in its means of communication, it being so easy of access by water from the towns of Stavanger and Bergen.

Native fjord steamers call at all the principal places en route at least once every day, and the traveller may arrange his journey so as to include a variety of overland routes, posting by "kariol" or "stolkjerre" on good roads, engineered with great skill, through magnificent scenery.

From the commencement of the seventeenth century the peasants have been required by law to supply horses and to convey travellers at a reasonable and fixed rate of payment, and posting-stations in connection with hotels and inns are now established on all high roads, at distances varying from eight to fifteen miles.

A line of railway was opened in 1883 from Bergen to Vossevangen, by which the Hardanger and Sogne districts can be reached in a few hours.

The journey by road from Vossevangen to Eide or Ulvik is an agreeable experience, especially after several days on the steamer, and this gives as good an example as any of the pleasure which may be derived from this mode of travelling.

To Ulvik by "kariol"

It was late in the autumn when I last made this journey, in bright, cloudless, October weather, warm sun, and crisp, frosty air-quite an ideal day for driving, as the roads were dry and firm. About five miles on the way the road ascends through a forest of pine-trees and high, rocky knolls, into whose deep shadow the sure-footed pony plunges, to emerge into the warm and dazzling sunshine. We drive by the craggy margin of a series of wild mountain tarns, whose surface is still as Dian's looking-glass, and in whose depths are reflected the craggs, the silver birches and pines, so perfectly that you could with difficulty see where the land joined the water's margin. In a near pool a trout rises, leaving circling lines of light blue ripple on the surface of the sleeping water, thus accentuating the perfect stillness. For a moment we pause, just to enjoy for a brief space the silence profound.

Ulvik, Hardanger Fjord

The pony's hoofs no longer click on the hard road; only the faintest murmur of some distant stream can be heard, or the rustle of a crisp leaf as it falls from the graceful silver birch near by, which stands-singly of its kind-a striking contrast to its more sombre companions the pines-a harmony of gold, silver, and deep warm green-in the bright sunshine of this perfect October morning.

Onward and upward we drive along the wild mountain road, still embosomed in trees, when, at a sharp bend, on emerging from the forest, suddenly we are confronted by an awful abyss, enclosed by an amphitheatre of huge perpendicular mountain buttresses, while near at hand, and from just beneath our feet, plunges Skjervefos with mighty volume into the chasm hundreds of feet below, sending clouds of spray high into the air.

The road now descends in long zigzag sweeps down the breast of the steep cliff, and passes, through clouds of spray, over a bridge near the foot of the waterfall. Down the steep valley we pursue our way and pass several farms, where large numbers of goats are fenced in their winter quarters near to the houses.

The tiny hamlet of Vasenden is now reached, and after a change of horses here, we continue our journey uphill again for several miles, on the road to Ulvik. The steep mountain road is well wooded most of the way, until at length the watershed is reached.

Here a fine lake, Espelandsvand, reposes at a height of some 1,200 feet above the fjord, surrounded by high mountains. The road in descending approaches in several places the very brink of a deep and narrow gorge, from whose hidden depths arises the deep gurgle of the mountain torrent on its hurried way to join the waters of the fjord below.

The white church of Ulvik now appears by the margin of the blue fjord beneath us. Clustering around the church are the hotels and brightly painted cottages in their orchards. Across the winding fjord rise range after range of snow-topped mountains, forming a panorama as fair as one could wish to behold, and a fitting termination to an enjoyable drive through such varied scenery as that which is found between the fjords of Sogn and Hardanger.

One of the most perfect fjord views is to be obtained from Ullensvang, in the S?r Fjord, a few miles from Odde. This place has the reputation of being the fruit-garden of Hardanger. It has been the favourite resort of artists and poets for generations.

Here we see, across the narrow fjord, the huge snow-field and glacier of Folgefond stretching in undulating line along the graceful mountain masses. Near at hand stands the medieval church on a green promontory, and along the margin of the graceful sweep of bay brightly painted farms nestle in extensive apple orchards.

In the bright warm days of early summer, when these fruit-trees are in bloom, the picture is of exceptional beauty, the wealth of blossom contrasting effectively with the snow masses and blue mountains across the sparkling fjord.

From Kinservik-an easy morning's walk from Ullensvang-comes that quaint and purely national type of wood-carving which has been revived in recent years in Hardanger district by Lars Kinservik. Here he may yet be seen busy at work, assisted by a number of chosen carvers, and surrounded by cleverly designed and skilfully executed work in wood-dragons and other grotesque motifs from pagan mythology being worked into exquisite pattern on high-backed chair, massive sideboard, and roomy settle.

The art of wood-carving

The revival of this national and beautiful art of wood-carving is steadily growing, and in this district it has spread to ?stens? and many other places in Hardanger, and from Vossevangen into the Sogne Fjord district, where clever carvers are found at Vik and at L?rdal.

Wood-carving in Norway is one of the most ancient of the industrial arts, and it shows a well-connected development from the days of the Vikings, who carved in bold design the figure-heads which ornamented their warships. But the most interesting and important period of this art is seen in the massive and richly-carved doorways to the wooden "stav" churches.

The earliest of these show distinct evidence of Irish influence, the ornament being usually composed of ribbon festoon, with grotesque figures of animals and snakes. The most characteristic of these carvings date from the eleventh and twelfth centuries.

Following on this interesting period we find the influence of the Anglo-Saxon and Norman, in which twining festoons of vines and various other plants are associated with dragons and other winged monsters in bold spiral design up the massive door portals. Figure subjects inspired by the sagas appear to have been in great demand, and we find quaint designs of this kind taken from the Niflung and Volsung sagas. A number of these richly-carved portals are preserved in the Bergen Museum.

?stens?, Hardanger Fjord

From the thirteenth to the sixteenth century the doorways of the peasants' houses were similarly ornamented, and this decorative art was followed up by the similar treatment of furniture and articles of domestic use.

Early in the seventeenth century a fresh impetus was given to peasant-carving by the introduction from the North German States of the Frisian patterns. These are in low relief, and consist chiefly of circles and wedge-shaped designs of great variety and beauty.

Examples of this period are far from rare, and in the proud possession of the peasantry they are treasured as heirlooms, along with home-woven tapestries, old silver ornaments, and antique embroideries.

Tapestry-weaving

Tapestry-weaving as a domestic industry has progressed hand-in-hand with wood-carving, and this ancient art is still a favourite occupation of the Norwegian housewife, who finds both pleasure and profit from its pursuit.

The earliest sagas tell us of woven pictures, thus pointing to the fact that even in those very remote times the Norwegians showed an inborn artistic sense.

Of textile fabrics from the Viking age fragments only have been found, and these in most cases were discoloured from contact with metallic objects and by the moisture from turfy soil. Woollen stuffs as well as linen were used, even in the Bronze Age, and the woven patterns were always of geometric design, and were worked in one or more colours, gold-wire, gracefully twisted, being used for decoration on the garments.

Cloths with figures in colour on them, and which rather resemble the famous Bayeux tapestries, are much prized. Coloured embroidery from medieval times is extremely effective, and displays skill and ability of a highly artistic order. Their full and harmonious colouring and beauty of execution make these cloths very valuable.

The upstanding loom was used for weaving of picture tapestries, and it is still to be found in the districts most noted for this domestic industry-Hardanger, Sogn, Telemarken, and Gudbrandsdal.

In 1893 the Norwegian painter, Gerhard Munthe, introduced a new and original style into the cloth-weaving industry which has had excellent and far-reaching results. His designs are based on the old Norwegian fairy-tales and folk-lore. They are grotesquely fanciful and highly imaginative, bold and harmonious in colour, and extremely decorative in effect. The movement is rapidly extending, and a new life for this beautiful industrial art is in course of development.

The Hardanger district is famous for men who are clever in the art of making the violin, and their skill in the use of this instrument is known throughout the country.

The Hardanger violin

This Hardanger violin is in form higher and more arched than the ordinary violin. A dragon's head usually forms the scroll, the other parts being richly ornamented by carvings and inlaid with ivory and mother-o'-pearl. There are four strings over the finger-board, and four or more underneath; the latter act as sympathetic strings, and are usually of fine steel wire.

The violin is the favourite musical instrument of the country people, and on it they improvise their musical impressions of Nature's sounds, such as "Twilight Hours," "The Song of the Thrush," or the ringing of chimes and marriage bells.

Through nearly all Norwegian music there runs a strong undercurrent of sad melancholy, which may be attributed, no doubt, to the isolated and solitary lives of the people, and to the effect on their natures of the scenery and surroundings.

?se Fjord

Often the most talented performers on the violin are those whose homes are in lonely and almost inaccessible places, where the voices of Nature-the sighing of the wind among the pines, and the murmur of waterfalls-play on the strings of their susceptible temperaments.

Waterfalls

Norway is the land of waterfalls. In no other country are they so numerous, and the murmur of them may be in your ears during many days of travelling. The beautiful district of Hardanger is particularly happy in this respect.

The moist and warm summers produce a vegetation unequalled in richness and beauty, and in the springtime, when the snows are melting, the warm and still air is palpitant with the music of countless waterfalls. Some, appearing to shoot from the sky over high perpendicular crags into the fjord, or gurgling in deep gorge unseen, send mellow music floating in the balmy air above in delicious waves of sweetest sound.

In the immediate neighbourhood of Odde, on the innermost reach of the Hardanger Fjord, are found some of the finest waterfalls in the country. One of them in particular-the Skj?ggedalsfos, or, more properly, Ringdalsfos-is considered by many travellers to be the grandest waterfall in Europe.

I visited this magnificent fall about the end of May in perfect weather.

Landing, after two hours' row from Odde, at the farm Tyssedal, by the fjord's margin, a path is found which leads uphill through aromatic woods of silver birch and pine, and winding up the rough, craggy, and bosky valley of Skj?ggedal, it approaches in places quite abruptly the very brink of the deep dark gorge where thunders the river in a succession of cataracts. After a walk of some three English miles, the farm which takes its name from, or gives it to, the valley is reached.

Just before I arrived at the farmstead, I overtook a young peasant and his wife, who were driving a herd of goats before them. The man had several young kids in a covered basket slung over his shoulders. The woman walked in front of the goats, knitting as she went.

Procuring a boat and boatman at the farm, I was rowed across a small lake formed by the river widening at this place. I had for my companions de voyage the peasants and their goats, these of themselves being quite as much as the boat could carry. There was but little room for the rower, but with short and steady strokes he landed his cargo over in safety.

The young peasant informed me that on their way from Roldal they had observed for some considerable time the movements of a bear making her way with two cubs over the Hardanger-vidde in the direction of Ringdalsvand (lake), our destination, and although the man carried a gun, he was unable to follow the bear on account of the goats under his charge.

On bidding good-bye at this place to these young peasants and their domestic flock, I noticed that the man's attire was somewhat out of the ordinary and quite picturesque. He wore dark-blue knee-breeches, with stockings of undyed wool, red shirt-sleeves, and wideawake hat of grey felt. A number of old silver coins, used as buttons in a double row, decorated his brown waistcoat; his gun and coat were thrown over his shoulders, and in his hand he carried a long alpenstock, thus making up together quite a picture which suited well the romantic surroundings.

We continued, and in a short time we came to a large lake-Ringdalsvand, and my guide invited me to take a pair of oars, and he himself took the other pair. We rowed steadily on in a light breeze, which gave to the lake an intense blue colour reflected from, the sky. On every side were towering cliffs and snow-topped mountains, whose steep bases were clothed with fragments of forest which had escaped destructive avalanches. Not a sign of human habitation presented itself; only wild Nature, sublime and grand in the extreme, surrounded us.

Skj?ggedalsfos, Hardanger Fjord

After about two hours of hard rowing, we pull up the boat on a pebbly strand at our destination, near to the head of the lake. We are now just beneath the magnificent falls of Skj?ggedal, which leap from the top of huge cliffs and send immense volumes of spray to a considerable distance; while on the gauzy vapour, which rises up from huge cauldrons at its foot, the arc of a brilliant rainbow is formed in the sunshine of mid-day. The very earth around seems to vibrate through the deafening roar from this mighty waterfall. To hold a conversation with the guide is quite impossible, unless I shout at the very height of my voice, and a feeling of deafness remained for a considerable time after leaving the place.

After sketching the falls, my paper being quite drenched by the fine spray which filled the air, my guide joined me in an impromptu cold lunch on the sunny strand.

In returning, the foss was in sight during an hour's rowing, until, passing along the base of a huge crag, at a bend of the lake, it quickly disappeared from view.

In this immediate neighbourhood are other waterfalls, the most graceful of which rejoice in the name Tyssestrengene, and their waters also descend into this Ringdalsvand. These beautiful falls are not so imposing as those we have just left, but they are very picturesque. They plunge down some 500 feet of quite perpendicular cliff, in slender, graceful streams, which are seen to creep through a natural bridge of glacier ice at the sky-line.

Other noted waterfalls in the Hardanger district are V?ringfos, Laatefos, and Espelandsfos; each one of these has quite a distinct character of its own, derived from more or less romantic surroundings.

The constant erosion caused by the mighty power of water, cutting into the mountain masses of conglomerate and granite, has been the means of forming the deep, narrow ca?ons and fjords, and, in conjunction with moving glaciers, has been Nature's chisel, by which has been shaped the present picturesque beauty of the scenery.

Glaciers

In the period known as the Great Ice Age, Norway is supposed to have been entirely covered with ice-fields, just as Greenland and Spitzbergen are at the present day. Remnants of these snow-fields and glaciers still remain, in this district, on the immense mountain plateau which lies between the S?r Fjord and the sea-coast.

Here, too, we have the extensive Folgefond ("fonn," or "fond," mass of snow). This enormous expanse of snow and ice covers the plateau at a height of some 3,000 feet to 5,000 feet above sea-level. It is from thirty-six to forty English miles in length, and from nine to sixteen miles in width. From this great snow-field glaciers descend in every direction, following the line of the valleys. The most noted of these are the Bondhus glacier in Mauranger, and the Buarbr? at Odde.

The most extensive general view of the great Folgefond snow-field is obtained from the high land which lies between Roldal and Seljestad on the east side, and from the neighbourhood of Ter?en, at the entrance to the Hardanger Fjord, on the west.

In sailing into a west-country fjord, and observing how it winds along with no great breadth between the rocky cliffs, that rise higher and higher the farther we penetrate, we could quite believe it to be a real fissure in the earth's crust.

We receive the impression that the steep sides of the fjord must continue down to immense depths. Soundings show, however, that they soon turn off to a somewhat flat bottom, that a cross-section is almost in form like a trough, with more or less sloping sides, whose height is small compared with the breadth of the trough; but, as the fjords are, as a rule, very long-the Hardanger Fjord being about 116 miles-we nevertheless get very considerable depths in the fjord basins, viz., from 2,500 to 4,000 feet.

Fjord formation

These characteristic and uniformly shaped basins are not found anywhere except in those countries that have once been covered by inland ice, nor is there any other natural force known that is able to hollow out such peculiar trough-like basins.

Ice-cut land has always quite a decided and easily recognizable character, and a Norwegian fjord landscape might, therefore, quite easily be mistaken for a scene from the west coast of Scotland, or for one from the lakes of Italy or Switzerland.

The fjord glaciers in the west country were formed by the confluence of ice-streams from the upper valleys. These valleys, too, have everywhere acquired the same peculiar trough-shaped cross-section, where the sides curve together towards a flat bottom.

This glacial excavation further differs distinctly from the more even lines of river erosion in a longitudinal section. Each glacier works according to its own power, without being associated very closely in level with the branch valleys, as is always the case where running streams have produced the river beds.

In these deep west-country valleys, especially, it is noticeable how often the shape of the side valley opens out far up the slope of the side-wall of the main valley, so that the rivers must fall in rapids and waterfalls over this impediment.

Even if two glacier streams of equal power flowed together, it would be an exception if they had excavated to exactly the same depth; there are, therefore, continual ledges in the longitudinal section of the valleys, alternating with rapids and waterfalls.

All these characteristics are unknown in those countries where the rivers have had to make their own regular lines of fall, but they are always found in glacier-scored land.

Bondhus Glacier, Hardanger Fjord

There is not much room for extensive valleys on the narrow peninsulas between the fjords, nor is the distance between the head of the fjord and the watershed very great, being steep. The rivers are therefore short, although in many places the volume of water is comparatively large, owing to the heavy rainfall and, in spring and early summer, to the quickly-melting snow. Thus the depth of the fall down to the fjord head is very steep, and it is therefore here, where the mountain forms are grandest, that the waterfalls are most numerous, and where they are the highest.

Above the head of the fjord and the upper reaches of the branch fjords there exists in some places a corresponding series of lakes, or lake basins, at a height of some hundreds of feet above the fjord level.

Glacial action

In the Hardanger district Sandven, Eidfjord, and Graven lakes are examples. Here, too, are rock basins of the typical fjord form filled with river-water, answering to the erosion caused by the extremities of the shorter glaciers in the valleys.

The inland ice during the great glacial period must have extended above even the highest peaks in the interior of the country; but during the lesser or later glacial period, when the extremities of the glaciers only extended to the above-mentioned series of lakes at the heads of the fjords, the higher mountain-tops-at any rate near the coast-and the highest peaks, say, of J?tunheimen, have stood above the great glacier, and have thus escaped the general process of grinding.

They appear, however, to have been considerably affected by natural forces in quite a different manner. Their surface is frequently broken up into loose fragments, and we find at their base long lines of rocky débris. We also constantly find them developed into characteristic Alpine forms.

Small glaciers in their hollows gradually wear down as they recede into semicircular corries, which cut up the original mountain forms into rugged ridges and peaks. These corries can only be developed above the snow limit, and outside the greater region of inland ice, or in among the rocky peaks above the glaciers' surface, and we see quite Alpine forms lifting their sharp peaks above the undulating snow-field on the extensive mountain plateaux.