The old Lyngby Church was demolished in 1913 and rebuilt further inside the area in 1914. This small church is beautifully situated in a spruce plantation at the edge of the magnificent dune landscape along the North Sea. The church consists of choir, nave and porch and has a roof rider with a high, copper-roofed spire. The choir is built of squares from the parish’s old church, just as the old profiled plinth has been recycled under the nave, which is otherwise built of brick and white. A number of granite blocks that were not used again have been placed in the cemetery.
Vittrup Church was built in 1937 as a longhouse church with a round apse end to the east. The church was also called Børglum Vestre Kirke but changed its name after 1970.
In the apse rounding is the altar table, which is built of yellow bricks. On the altar is a crucifix. The granite baptismal font is made in Romanesque styles in recent times.
Sæby Church is a beautiful market town church. The whitewashed, lead-covered monkstone church was built in the late 15th century. Until the Reformation, the church served as a monastery church for Carmelite monks. The church formed the south wing of the four-winged monastery, which was very close to the harbor. The monastery itself has since been demolished, but much of the church’s furniture and frescoes from Catholic times have been preserved. The church has frescoes that belong to the region’s most significant.
The oldest can be seen on the north wall. The paintings in the vaults of the choir are from around 1500. In the choir there were 32 monastic chairs in the monastic period, but only 20 are preserved. While there was a Latin school in Sæby (1550-1739), students from here have scratched name features and no less than 52 ships on the monks’ chairs. The altarpiece is also from Catholic times. It is a Dutch work with the coronation of the Virgin Mary as Queen of Heaven in the center. The church has two baptismal fonts; a wooden baptismal font from 1645, which is still in use, and a newer granite baptismal font, which stands in the side aisle of the church under a late Gothic Maria figure from 1520. The pulpit is a renaissance work from 1577. The organ has 27 voices and is from 1983. The church also contains a number of epitaphs, a globe of light and three ancient crucifixes.
Jetsmark Churh was possibly dedicated to Saint Nicholas in the Middle Ages. Apse, chancel and nave were built in Romanesque times of finely hewn granite blocks, apse over double plinth with Attic profile over sloping edge, chancel and nave over sloping plinth. The north door with a rectangular finish is still in use, the south door is walled. In the apse sits an original window with symbols of Matthew and Luke carved into the lintel. On the north side of the ship is a Romanesque window. In late Gothic times, the tower was built of recycled squares and monk stones. The porch is also from the Late Gothic period. In the porch is placed a rune stone with the inscription: Hove put the stone after his brothers Thorlak and Ride.
In late Gothic times, the choir and nave had vaults, the apse was given a three-ribbed vault on the same occasion and was separated from the choir by a wall. The tower room opens towards the ship by a pointed arch.
The altarpiece from around 1570 hangs over the chancel arch and has been restored after the National Museum’s Preservation Department’s investigations. After several changes over time, the altarpiece in 1910 is removed from its place and taken out of use. The reason is that the frescoes have now been rediscovered and are being extracted. The congregation is now looking at the altar wall frescoes of Doomsday and the lattice of the monster hide instead. The old altarpiece is first hung high up on the white surface above the chancel arch, and thus still visible to the eye up towards the altar, but later it is hung down on the north wall of the nave. In the year 2000, the altarpiece was restored. The altar table is from approx. 1600. The table panels are of light lacquered pine with rectangular panels with three on the front and two on each side. The profiles in the fields are plated with gold leaf.
The baptismal font of sandstone is of more recent date. Replaced by Birkelse Estate at the end of the period when the estate was church-owned (until 1915). The inscription carved on the side of the baptismal font is JETSMARK. Baptismal basin with accompanying baptismal jug is from the Middle Ages, approx. year 1500.
The pulpit is from the end of the 16th century. The sound sky is made of oak. The chair consists of six vertical compartments. Each subject is divided into three, a large carved image field in the middle, a small painted image field at the bottom, and an even smaller field at the top with inscription. The columns are smooth except for two rings. At the top they have a Corinthian capital with many crumbs. The carved images in the large fields represent seen from the left; 1. Christmas Eve. 2. The baptism of Jesus. The Crucifixion. 4. The Resurrection. 5. Ascension. 6. Returns.
Asdal Church is a village church that is believed to have been built around the middle of the 15th century. The first written testimony about the church is 1472. It was supposed to have been built by Johanne Andersdatter Panter as a chapel for Asdal Hovedgård, but legend has it that it was built by Karl Pølse as a penance for killing a monk.
A distinctive feature of the church is its porch, which is built in half-timbering – which makes the building unique, as most of this type have been rebuilt. There is only this porch and the porch in Hirsholmene Church. The porch was built by the then owner of Asdal Hovedgård, Ingeborg Skeel, when she made a thorough renovation of the church in 1575-78.
The church has no tower, but instead a bell tower (the current one was built in 2003), where two bells hang, the oldest of which is from 1627.
The rectangular church building houses both choir and nave – and these two are a whole without division, which makes the church a whole and the togetherness between priest and congregation becomes more direct. There has never been a chancel arch, but on the inside of the north wall there is a pointed arch glare. It is not known whether there has been access to a sacristy or a chapel through the arch – what has been is not known, as it has now been demolished. Maybe there has been a side altar there – which is probably most likely
Bjergby church was built in the 13th century. The high-lying church, which from large parts of northwestern Vendsyssel can be seen on its ridge next to an ancient mound, consists of a Romanesque choir and nave with a newer porch to the north. The Romanesque building is built of granite blocks on a plinth, which in the eastern part has a steep, strong sloping edge and to the west is flatter and narrower. Above the walled south door, which was still open in 1637, sits a tympanum with crucifix, human figure and bird, which in 1729 lay in the cemetery and was assumed to be a tombstone. is still in use but somewhat expanded, and its tympanum with dragon figure is inserted above the door of the porch. Of the original windows, the interior of the choir’s large east window with wedge stone engravings has been preserved, and in the south wall of the choir, two round-arched monolith beams have been inserted.
Inside, the flat beamed ceilings are preserved. The round choir arch is preserved with sloping frame stones. In the choir stands an oak frontal, which covered the altar table until 1950. The frontal is an imitation of the golden altars. The altarpiece contains parts from a Hungarian Renaissance tablet but has been greatly transformed in 1782. The pulpit is from approx. 1600. The Romanesque granite font has a hemispherical basin on a rope-adorned pyramid stump base.
Mere om denne kildetekstDer skal angives en kildetekst for at få yderligere oplysninger om oversættelsen
The rapidly growing fishing and harbor town, Hirtshals got its own church in 1908. In 1964, a significant expansion of the building was initiated.
The whitewashed church, built of brick, consists in its rebuilt form of a longhouse, to which to the west joins a tower with curved side roofs and pyramidal spiers, all covered with bricks.
Emmersbæk Church was built in 1983, but only in 1985 did the building receive the status of an official church.
The bell tower was made of glulam by Lilleheden Glulam, but in 2015 it had to be demolished due to unfortunate construction. The bell is from the Netherlands and is from 1982. The bell says “Glory be to God in the highest, and on earth peace, good will toward men” (Luke 2:14).
The baptismal font, altar table, and pulpit are of glulam. In the baptismal font is a basin of brass.
Sankt Catharinae Kirke is a cruciform church (dedicated to Sankt Catharina of Alexandria) and it is Hjørring’s largest church, located near the town’s old square. It consists of a late Romanesque core of brick but is dominated by later alterations and additions. In late Gothic times, probably the first half of the 15th century, the original chancel was replaced by a three-sided finished chancel with a “broken” gable, but the chancel arch seems to have been preserved until approx. 1650. At the north side of the choir, a sacristy was erected. Further, the entire church was given a vault. Shortly after the middle of the 15th century, a chapel with an 8-part vault, Sankt Annæ chapel, was built on the south side of the nave, which according to a now disappeared tombstone was founded by the priest Peder Pedersen, who died in 1489.
Sankt Olai Church was erected by Magnus the Good, King of Denmark 1042-47 and son of King Olaf II. However, the current Kampsten Church is 100 years younger than King Magnus, but in 1966, during a restoration, traces of a wooden building were found under the church floor.
The church choir and nave are built in Romanesque style. The building style of the porch is late Gothic and has been recently restored. Inside the church, traces of frescoes have been found on the walls of the church’s choir and nave, but they have all been covered and whitewashed. The baptismal font is new, but the baptismal font itself is from around 1600. The altar is from the end of the 1500s with changes from the early 1700s. The pulpit is from 1604 and Renaissance work.
The church choir is made of granite blocks, while the nave is mainly of red monk stones. The porch is from the middle of the 19th century, however, a walled block stone with ornamentation, placed above the door, probably originates from the church’s original south door.
Traces of frescoes have been found in several places in the church, but only on the north wall of the nave is a fresco preserved. It originates from approx. 1350 and was uncovered in 1875. The motif is Saint Christoffer, who carries the baby Jesus across the river.
The baptismal font is Romanesque and was donated to the church in 1907. The altarpiece and pulpit date from 1612 and 1602, respectively, and are both Renaissance works by master carpenter Niels Ibsen.
Jelstrup Church belongs to the group of Vestvendsyssel’s charred (without tower) granite churches. It used to have a late Gothic tower, but it fell into disrepair over time, and in the late 18th century it was partially demolished along with corundum.
The lower part of the tower room was later merged with the nave, thus obtaining a sizable church room with seating for over 150 people.
The distinguished block stone building is best preserved in the north wall, where the original female door is also still preserved. In the doorway is a carved ornamented cross and a bird, possibly an eagle. The name IOHANNES can be seen above the bird, which is why it can be assumed that the church was originally consecrated to the apostle John.
Lønstrup church was built in the years from 1926 to 1928. However, the tower was not erected to its full height until 1939.
At the inauguration, the old Romanesque granite baptismal font was moved from Mårup church to Lønstrup church. The baptismal font was made in Nuremberg around 1575. The motif at the bottom depicts the scouts returning from their reconnaissance in the Promised Land before the Israelites immigrated to Canaan. The painted wood carving work that hangs on the west wall of the church room is the middle group from a late Gothic altarpiece from around 1520. The motif is called “Anna Selvtredje”. It depicts Jesus, his mother, Mary, and his grandmother, Saint Anna. Until 1989, the group of figures had their place on the altar in Mårup church.
The painting on the north wall of the church over the baptismal font dates from the 16th-1700s. It used to hang in Mårup church.
The nave model, which hangs in the church’s tower room, originally belonged to Mårup church, where the then church owner, merchant Axel Rosenkrantz Segelcke in 1842 had it hung up. In 1970, the ship was stolen but later appeared at Brønderslev old inn, where it must have been handed over by a guest who could not pay for his stay at the inn. After being in a depot at Vendsyssel Historical Museum for a few years, the ship model was hung up in Lønstrup church in 2014.
A plaque walled in in the north wall of the tower room has in the same way previously been placed in Mårup church. It was erected in 1895 by the British Admiralty in memory of those killed in the sinking of three English warships in the early 1800s, i.a. “The Crescent”. The memorial plaque refers to the fact that many of the deceased are buried in “this cemetery”. It is not Lønstrup cemetery that is thus referred to, but the cemetery at Mårup church.
Mygdal Church’s choir and nave were built of bricks 1200-1250, the choir may have had an apse. The neat plinth profile is partly shaped in granite. The choir and nave are adorned on the outside with the area’s characteristic licenses and round arch friezes. The pointed arch of the walled south door is accompanied on the inside by a saw change, the north door is in the original bearing but is somewhat extended. Walled round arched windows can be seen in the ship’s walls. The North Chapel was built in the 16th century by Christoffer Lunge to Odden Manor as a burial chapel for the family. The west gable was rebuilt in the 17th century, the east gable in 1846.
The altarpiece dates from 1595 but was heavily transformed in 1770. The Romanesque baptismal font of granite has a hemispherical basin on a pyramid stump base. In the church is a late Gothic choir arch crucifix from around 1500. The pulpit is from 1777. In the wall of the choir is a figurine tomb from 1576 over Christoffer Lunge, who fell at Falkenberg in 1565, and his wife Karen Jørgensdatter (died 1556). On the north wall is a fresco with a very beautiful Maria with a child from the end of the 14th century, possibly by the same painter who made Sankt Kristoffer in Hjørring. Under Maria is a coat of arms with a chalkboard pattern, presumably for Niels Mogensen Glob who is known from this area in 1394.
Mårup Church was a church in Mårup Parish in Hjørring Municipality. The church was located on Lønstrup Klint, an approx. 15 km long coastal slope between Lønstrup and Løkken. It was built in the 13th century.
On March 24, 2008, the church was used for the last time for worship in connection with the worship service on the 2nd of Easter
Mårup Church was used in 1987 as a location during the filming of Gabriel Axel’s Oscar-winning film Babette’s Guest, based on Karen Blixen’s story of the same name.
The ship anchor in front of the church comes from the English frigate “The Crescent”, which on its way to Gothenburg with supplies for the English fleet sank off Maarup on December 6, 1808. At the shipwreck, 226 crew members died, and they were all buried in a common grave in the cemetery. Seven officers and 55 sailors survived.
In addition to “The Crescent”, two other English ships – “St. George” and “Defense” – sank further down the west coast some years later. The English Ministry of the Navy, therefore, erected a memorial plaque in Maarup Church in 1895 over the three sunken ships.
When Lønstrup Church had been built in 1928, Mårup Church ceased to be used as a parish church. It was then maintained as a protected monument by the Danish Nature Agency. The sea, however, ate into the cliff and gradually came closer to the church, which created fear that the church would plunge into the sea from the 70-meter high cliff.
After several years of discussions about the fate of the church   and attempts to secure the church , the church’s owner, the Danish Nature Agency, decided on 27 November 2007 a gradual dismantling of the church. In 2008, the church’s lead roof and the top of the walls were removed. Over the next few years, until September 18, 2015, when the last stone from the church’s foundation was taken down, the church was carefully taken down under the expert guidance of experts from the National Museum.
During the first years of the dismantling, all material from the church was stored and stored in a warehouse in Hjørring, with a view to donating the material to a possible reconstruction at a safe location if local benefactors would fund such a project.
In the fall of 2015, a children’s grave was found under the altar after the church had been completely removed. Archaeologists considered the find intriguing, as it is not uncommon to find children buried under the altar. It has probably been a child of a rich family.
Rubjerg Church was built in 1904 from the materials from the old church – the Romanesque baptismal font is also used in the new church. Rubjerg Church was originally built in about 1180 as a Romanesque block stone church. When Rubjerg Old Church was built around 1180, the parish must have been rich. This is evidenced by the relatively large size of the church. It was built in the part of the parish that was most densely populated, which is consistent with the fact that according to old folklore there should have been a village north of the church. It may be hard to understand today, but before the sandstorm covered everything, there was good farmland. You can see this when you dig down through the sand and find plow tracks everywhere.
The meter-thick walls were extremely built of block stone. Inside there was a wall of cleaved fieldstones, and between these walls lime mortar mixed with natural stone was filled. It is this wall that remains as the last remnant at the west end of the church.
The sand escape rages, and the residents in the northern part of the parish flee. Around the year 1600, the church is left alone in a desert-like landscape. Only over a hundred years later, in 1724, did it get the company of a new dean’s residence. In pastoral reports, you can read about the difficult times the church and the parish’s few residents are going through. There is no way to afford to maintain the church, which is falling into disrepair more and more.
Up through the 1800s, the parishioners became more and more tired of the long road through the dunes to the church. In 1904 the church was taken down and rebuilt 2 km further south, where the people of the parish lived.
The church was built in the 12th century and expanded with a tower in the 15th century. Almost hidden by a dense vegetation that seems surprising in the otherwise rather meager dune parish, is Skallerup Church, which consists of a Romanesque choir and nave, west tower, sacristy and porch from the late Gothic period. The Romanesque building, choir and nave, is built of granite blocks on a sloping plinth. The north door is walled in, while the south door, somewhat widened, is still in use. From the original windows, two round-arched monolith rafters have been inserted into the south wall of the chancel.
Tornby Church was built around the year 1200. The church consists of a Romanesque apse, choir and nave, Gothic, almost completely renovated tower to the west and porch from the 19th century to the north. The Romanesque building is built of granite blocks. The apse and chancel have a sloping edge, the ship’s walled south door is seen externally walled in, while the north door in use has been widened. The round choir arch is preserved, and the choir and nave have recessed beamed ceilings.
The church is of hewn stone, covered with lead, the tower is of brick with a tiled roof, the church inside has a board ceiling. The Gothic west tower, which had a vault in the basement, was very dilapidated, and in 1949 it was completely demolished and replaced by a new one, the external forms of which reproduce the old one. The clock is from 1586. The porch is without character.
A small, late Gothic flute board stands on the altar table. The plaque is from around 1525 with motifs of the worship of the Kings, St. Anna self-third, Grace chair, St. Catarina, and St. Oluf, and in the wings the apostles.
The altar table is the square wall.
In 1908, fragmentary Late Gothic frescoes (Old Testament scenes and apostles) were found in the choir, which are again covered. On the north wall of the choir, there was on the same occasion a long, in the wet plaster engraved runic inscription, in translation “Thorsten Bre… carved these runes in the days of Pentecost… He enjoyed much of the notes (chorus) in the morning there”.
Driven baroque brass candlesticks with twisted, pear-shaped ornaments. The pulpit, a simple carpentry work from around 1850, has previously stood in St. Catharina, Hjørring. A late Gothic candlestick of wrought iron and a writing board from the 18th century are now in the National Museum.
The pulpit is a simple carpentry work from around 1850, which has previously stood in St. Catharina, Hjørring. The baptismal font is a Romanesque granite font with a hemispherical cup-leaf-adorned basin and frustoconical base with semicircular, niche-like incisions at the bottom, while the baptismal font and the baptismal jug are southern German from around 1575 with the Annunciation.
In the church are hung two nave models, one representing the lightship “Knoben”.
Uggerby church was built in the 12th century. The church consists of a Romanesque choir with a modern extension; aisle to the south and tower to the west. The Romanesque building, choir and nave, is built of granite blocks on a slightly hollow sloping plinth. The plinth-breaking, rectangular north door has been preserved walled in, and in the chancel south wall is a walled round arch window with monolith overlay. Inside is the round choir arch with hollow-edged chimneys. A probably late Gothic death tower was demolished in the 1820s. The building was subjected to a thorough rebuilding and expansion in 1923-25. The south wall of the nave was demolished, and a side nave of brick and old squares was erected, in the exterior shaped like three chapels, each with its own gable, and in the west a tower with a saddle roof was added in the east-west.
The old, very interesting bell from 1473, dedicated to St. Olav and with numerous reliefs was recast due to crack formations in 1917, with repetition of the old ornaments.
Inside, cross vaults were inserted everywhere, and a false apse was built into the chancel.
The altarpiece has a few carved parts in the Renaissance around 1625 and otherwise consists of a painting, Jesus’ Blessed Child.
Romanesque altar table of granite blocks with reliquary in the plate.
Newer, simple pulpit and chair structure from 1925 with carved ornaments and a reproduction of the church before the rebuilding.
The granite baptismal font was sandwiched at the foot of the pulpit on the north side of the church. The baptismal font is a southern German dish around 1575 with the scouts in Canaan.
Vennebjerg Church is one of Vestvendsyssel’s distinctive churches, which with its high location and unobstructed view is a fixed point in the landscape visible knowledge of.
The church was built in the middle of the 12th century and has a Romanesque nave and chancel built of granite blocks. The tower, sacristy and porch are later extensions – probably from the 15th century. It is dedicated to Skt. Andreas.
Finds of flint tools show that Vennebjerg hill island has been inhabited by people all the way back to the Stone Age.
Vidstrup church was built around 1200. It is a small church built of hewn stones and without a tower. The roof is mostly covered with lead, only a small piece of brick. Board ceiling inside.
The church consists of a Romanesque choir and nave as well as a late Gothic porch to the north. The Romanesque building, choir and nave, is built of granite blocks on a sloping, in some places hollow plinth. The rectangular uncovered north door is in use, while the south door, which does not break the plinth, is tracked.
The porch is a quite beautiful late Gothic building from the Reformation period. Its flat-arched door is covered by a high glare with twin ground arches in the gable roof gable.