The stone architecture of medieval Norway holds a special place in the history of Norwegian architecture and the entire Scandinavian Peninsula. The definition of exact borders of the Norwegian dioceses predetermined the course of development of stone construction within the church’s administrative districts. Following the principles and order of liturgy in cathedral, Norwegian parishes adopted the layout of cathedrals. The symbolic mimesis, manifested in the appropriation by regions of certain properties and architectural qualities of cathedral, is ubiquitous in the five Norwegian dioceses, including Central Norway. Having analyzed certain monuments, albeit fragmentarily, we can conclude that the parish architecture of the central part of the country has much in common. Most importantly, one-nave temple layout with a square choir is prevalent, with most buildings featuring three portals in the nave and a portal in the south wall of the choir, which corresponded to the cathedral architecture of the Middle Ages. St Olav’s Cathedral in Trondheim, which held a special status not only within the diocese, but throughout the entire archiepiscopate, had a significant impact on the emergence of a number of constructive and decorative elements. The masons’ signs discovered in the parish churches are similar to those in St Olav’s Cathedral in Trondheim and indicate that metropolitan craftsmen were involved in the construction of small churches. At the same time, we should note the development of local specifics, expressed not only in the layout, but also in the special character of sculptural images whose origins require clarification and further research.
