Troldhaugen

Holmefjord

Even though we know of several hundred burial places from the Stone Age in Hordaland, we do not often hit on the Stone Age Man himself. But there are a few.

Halne

At Halnefjorden, a few hundred metres east of Halne mountain lodge, lie the remains of two stone sheds – Halnelægeret. Some generations ago the cattle drovers stopped here in the summer; they were the cowboys of their time. But Halnelægeret already had a long history before the cattle drovers came.

Tveit

Hopland

The farmhouses at holding No. 15 at Hopland are built together to form a long, continuous building, with dwelling house, hayshed and cowshed built in one row. There have been many such joined structures in the coastal communities, but today there are few remaining. If we travel to the other side of the North Sea, to the Faeroes, Shetland and the Orkney Islands, we find corresponding features in the older building traditions. We find ourselves in a large North Atlantic cultural area.

Seim

Sæheim (Seim) at Lygrefjord is mentioned as one of the royal farms of Harald Hårfagre. Several of the first Norwegian national kings had their seat here, and the farm became Crown Property up to the 1400s. According to the sagas, Håkon den gode is buried on the farm.

Valestrand

Fosnstraumen

At the southern end of the bridge between Radøy and Fosnøy archaeologists found an unusual Stone Age settlement. There was a thick “cultural layer” here with the remains of the waste dumps of a hunting people. The place was called Kotedalen. Here they came, one group after the other, and settled for some weeks, some months, or maybe years before they went on, leaving the settlement deserted. Time after time it happened. At least 16 settlement phases have been identified, stretching over 5,500 years.

Grindheim church

The first church at Grindheim was a stave church with a free-standing steeple. The church was first mentioned in 1326, but was probably built long before this time.

In Memory of Fartein Valen

“Fartein Valen is the key figure within newer Norwegian music. Not by way of being more popular than other younger composers, but because he aims at things higher, which he is fully confident of being able to reach since he commands all techniques. But there is a price to pay for reaching above the ordinary, and there is a price to pay for demanding more than the ordinary from the listeners. This is something Valen has experienced”.