PRESERVATION AND RESTORATION OF PAINTED CLAY PLASTER IN BJØRGAN PRESTGÅRD (2015 - 2016)
Year:
Anno 2017/2018
Category:
Conservation
Goda Simona Jurgelionyte
KULTURMINNECOMPAGNIET AS, Trondheim, Norway
The Bjørgan parsonage (Norwegian: Bjørgan prestegård) is a museum and former parsonage in Kvikne in the northern part of the municipality of Tynset in Norway.
It is where the writer Bjørnstjerne Bjørnson (1832–1910) was born and lived during his early childhood, from 1832 to 1837, while his father was the parish priest at Kvikne (1831–1837). Bjørnstjerne Bjørnson is one of Norway’s greatest national poets. He has written, among other things, Norway’s national anthem.
Log house, built in late 1780 – the year and it was used as a parsonage until 1860. Before the beginning of the 1800’s, and perhaps for the first half of the year 1800, many of the rooms were decorated in what (decor) most remained to this day. Room on the 1st floor and two rooms on the 2nd floor of the retort of clay. Most of the rooms were simply painted, and some of the rooms were decorated finish. Clay plaster walls painted with glue paint and the panels and the wall under the fireplace decorated with painted marble.
1800 renovation of the interior decoration of the house and the appearance remained unchanged until 1860. Deeper studies have shown that extensive modernization of the interior had begun. After renovation, repainting was carried out only works in some rooms. Some repainting work quality is very bad.
In 1917, a collection started with the goal of making the place in to a museum for Bjørnson, and in 1919 the farm was transferred to the state as a gift.
In 1932, a memorial to Bjørnson was unveiled at Bjørgan, and the old building contains many items from Bjørnson’s time. The Bjørgan parsonage is part of the North Østerdalen Museum.
Building repair works carried out 2010-2011 and interior restoration work was started in 2014 and held until now.
Room with fire place wall preserved and restored to save the decoration of the year 1860 (according to J.Brænne’s report instructions).
After studying the original materials and methodologies of conservering clay, we were able to restore preserved clay with the painting decoration. Traditional materials, such as clay, sand, grass, cattle hair, were used.
Later overcoating layer was removed from the painted surface. Painting decor was consolidated and retouched.
Inscription (MathiasTrondoesi DaleTvidale Åre 1885) on a later overcoating layer was saved. It exhibited as a probe on the retouched wall.
