Heddal Stave Church (, ) is a parish church of the Church of Norway in Notodden Municipality in Vestfold og Telemark county, Norway. It is located in the village of Heddal. It is the church for the Heddal parish which is part of the Øvre Telemark prosti (deanery) in the Diocese of Agder og Telemark. The wooden, triple nave stave church was built in a long church design around the year 1200 using plans drawn up by an unknown architect. The church seats about 180 people. The church is one of the 28 surviving stave churches in Norway and it is considered to be the largest of the stave churches. It was constructed entirely out of wood at the beginning of the 13th century, and it was dedicated to the Virgin Mary. After the Reformation, the church was in very poor condition. A major restoration of the building took place during 1849–1851. However, because the restorers lacked the necessary knowledge and skills, another restoration was required in the 1950s. The interior was marked by the period after the Reformation in 1536–1537 and is for a great part a result of the restoration that took place in the 1950s. Heddal Stave Church is a popular tourist attraction, and it is open to the public during the summer season. The church is still in use, and remains a popular place to get married. In the 19th century, it became one of the first stave churches to be featured in a scholarly publication, described and depicted in one of Johannes Flintoe's illustrations. Architecture Made from Scots pine wood, Heddal Stave Church is supported by load-bearing staves (wooden poles) and sits on a foundation of stone. To strengthen its massive structure, interior staves are alternated between short ones versus full-length ones. As a hybrid church, Heddal's nave resembles both Borgund style churches with their towering central plan, as well as the Kaupanger group's long arcaded naves: as seen in Heddal's chancel, which has six free masts. Although the chancel remains, its pillars were removed along with their inscribed texts. Outside of the church's façade were doorways with ribbon-interlaced portals. Four of which remain fairly intact. However, one of these portals, aside from being a line drawing, no longer exists. Initially, these portals acted as a thematic separation between the inside - which resembles the beginning of Christianity, versus the outside - recalling the end