Medieval churches in Lolland

Branderslev Church

Branderslev Church was built in Romanesque style of red (now white washed) bricks around the year 1200. The present wooden bell tower was built in 1744. Altarpiece is of early baroque style from around 1650. On the western side of the nave, there is a special corner from the old days, where pregnant un-married young girls were put on parade.
Founded: c. 1200 | Location: Nakskov, Denmark

Herredskirke Church

The Herredskirke church was built between 1200-1250. Above the rood arch hangs a rare and characteristic woodcut representing God the Father on the throne holding the crucified Saviour between his knees.
Founded: 13th century | Location: Nakskov, Denmark

Horslunde Church

Horslunde Church was built in the 12th century and dedicated to St. Hans. Through the years it has undergone several large alterations. The altarpiece and the pulpit date from 1594. Former Danish prime minister, Christian Ditlev Frederik Reventlow is buried at the site.
Founded: 12th century | Location: Horslunde, Denmark

Krønge Church

The small Krønge Church was made of red bricks around the year 1100. It was formerly the property of Søholt Castle. The church consists of choir, nave and porch, but the church has no tower. The altar was made in 1643 and Renaissance pulpit in early 1600s. The church contains an epitaph dated 1706, which is written in German.
Founded: c. 1100 | Location: Maribo, Denmark

Øster Ulslev Church

Øster Ulslev Church was built around 1225 and the tower was added in 1693. The font dates also from c. 1225 and pulpit from 1625. The altarpiece was painted in 1853.
Founded: c. 1225 | Location: Øster-Ulslev, Denmark

Stokkemarke Church

Stokkemarke Church dates from the mid-1200s. It was built in the Romanesque style with later additions in the Gothic period. The church was dedicated to St. Clement in 1396 although it was later associated with St. George, probably as a result of a panel from St Jørgens Hospital in Bregerup which hung in the church until 1878. A reliquary found in the high altar was a gift from Bishop Gisike of Odense (1286–1 ...
Founded: c. 1250 | Location: Stokkemarke, Denmark

Vestenskov Church

Vestenskov Church was built of red bricks originally between 1250 and 1300. It was enlarged in the 1400s and the church size was was nearly doubled. There is an external wooden bell tower. The Renaissance altar dates from 1590s, but it was restored in 1650. The pulpit was carved in 1627.
Founded: 1250-1300 | Location: Nakskov, Denmark

Vester Ulslev Church

Vester Ulslev Church was built in the late 13th century. The late-Gothic tower was erected later in the Middle Ages. The Romanesque font is probably made in Gotland. One of church bells date from 16th century, other from 1860. The altarpiece was painted around 1616 and is very similar to near Fuglse Church altar. The pulpit dates from c. 1610.
Founded: 13th century | Location: Øster-Ulslev, Denmark

Arninge Church

Arninge Church is a Late Romanesque church built of red brick in the 13th century. It has an intricately carved auricular altarpiece created by Henrik Werner in 1644. The church was originally dedicated to the Virgin Mary. Built of red brick, the church consists of a Romanesque apse, chancel and nave and a Gothic porch. There is a free-standing 14th century timber bell tower adjacent to the church. The chancel has traces ...
Founded: 13th century | Location: Dannemare, Denmark

Bursø Church

Bursø Church was built in the 12th century. It doesn’t have much decoration, but there is a fresco in the chorus. The altarpiece dates from 1689. It was a gift from prefect H.U. von Lutzow and his wife E.C. von Schager. Their coat of arms is displayed on it. The church has no tower.
Founded: 12th century | Location: Maribo, Denmark

Døllefjelde Church

Døllefjelde Church was originally a tiny chapel built before 1362. The present choir served as the nave. The wodden crucifix dates from 1300 and the glass painting of the knight Henrik Plot dates from 1400.
Founded: 14th century | Location: Sakskobing, Denmark

Fjelde Church

Fjelde Church was built in around 1100 and the tower was erected in 1500s. The font dates from c. 1575 and pulpit from 1610. The rare kind of altarpiece doesn"t have a painting at all; there are only citations from Catechism.
Founded: c. 1100 | Location: Sakskøbing, Denmark

Fuglse Church

The medieval church of Fuglse was originally dedicated to St Lawrence but after it was rebuilt in 1595 it was dedicated to the Holy Trinity. After the Reformation it was owned by the Crown until it was transferred to the prefect Henning Ulrich von Lützow in 1689 who gained ownership of nearby Søholt the following year. It later came into the ownership of Raben Huitfeld Levetzau til Kærstrup (1835) and th ...
Founded: 12th century | Location: Holeby, Denmark

Gloslunde Church

Gloslunde Church was built in the 13th century. Built of red brick but now whitewashed, the church consists of a Romanesque chancel and nave and a Gothic porch and sacristy. A 14th-century timber bell tower stands close to the church"s northwest corner. There are two small Romanesque windows on the chancel gable, now both bricked up. The east gable is also decorated with a round-arch frieze. The original flat wooden ...
Founded: 13th century | Location: Dannemare, Denmark

Godsted Church

The nave and chancel of Godsted Church were built in the 13th century and the porch was added later. The Romanesque font is made of granite and is probably as old as the church. The pulpit dates from c. 1625 and altarpiece from 1825.
Founded: 13th century | Location: Øster-Ulslev, Denmark

Gurreby Church

Gurreby Church was built in c. 1200 in Romanesque style. It has no tower, only ridge turret added later in the Middle Ages. The original altarpiece from 1518 is today in National Museum, Copenhagen. The pulpit dates from the early 1600s.
Founded: c. 1200 | Location: Søllested, Denmark

Herritslev Church

Herritslev church was built around 1220 under the rule of Valdemar II of Denmark. The tower and vaults were added 150-200 years later in Gothic style. The pulpit, made in Dutch Renaissance style, dates from 1610. There are some frescoes in the vaults from the 13th century. In the cemetery on churchyard is a notable medieval stone wall.
Founded: c. 1220 | Location: Nysted, Denmark

Hillested Church

Hillested Church dates from the c. 1200. It is a Romanesque village church, built of large stones with clearly extensions. The altar dates from 1588 with a later reredos. Pulpit dates from the Renaissance period.
Founded: c. 1200 | Location: Maribo, Denmark

Købelev Church

Købelev Church was built around 1300 and restored in 1883 and 1970. The chancel gable wall is a beautiful architectural work. The churchs organ is one of the few Gudme company Organs, which are still existing. The altarpiece is a work by the famous church painter Eckersburg from 1841. The interior of the church contains a pew with the name of a smallholder Otto Kulds, engraved upon it. This is dated 1646.
Founded: c. 1300 | Location: Nakskov, Denmark

Landet Church

Landet Church was built in the 12th century. It is the one of few Lolland churches made of Granite. The tower, porch and sacristy were aded later. The impressive tower was also used as a lighthouse. The altar dates from 1582 and pulpit from 1610.
Founded: 12th century | Location: Søllested, Denmark

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Château de Vaux-le-Vicomte

The Château de Vaux-le-Vicomte is a baroque French château built between 1658-1661 for Nicolas Fouquet. It was made for Marquis de Belle Île, Viscount of Melun and Vaux, the superintendent of finances of Louis XIV, the château was an influential work of architecture in mid-17th century Europe. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and the painter-decorator Charles Le Brun worked together on a large-scale project for the first time. Their collaboration marked the beginning of the 'Louis XIV style' combining architecture, interior design and landscape design. The garden's pronounced visual axis is an example of this style.

To secure the necessary grounds for the elaborate plans for Vaux-le-Vicomte’s garden and castle, Fouquet purchased and demolished three villages. The displaced villagers were then employed in the upkeep and maintenance of the gardens. It was said to have employed eighteen thousand workers and cost as much as 16 million livres. The château and its patron became for a short time a focus for fine feasts, literature and arts. The poet La Fontaine and the playwright Molière were among the artists close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with a dinner event organized by François Vatel, and an impressive firework show.

After Fouquet was arrested and imprisoned for life, and his wife exiled, Vaux-le-Vicomte was placed under sequestration. The king seized, confiscated or purchased 120 tapestries, the statues, and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists (Le Vau, Le Nôtre and Le Brun) to design what would be a much larger project than Vaux-le-Vicomte, the palace and gardens of Versailles.

The Marshal Villars became the new owner without first seeing the chateau. In 1764, the Marshal's son sold the estate to the Duke of Praslin, whose descendants would maintain the property for over a century. It is sometimes mistakenly reported that the château was the scene of a murder in 1847, when duke Charles de Choiseul-Praslin, killed his wife in her bedroom, but this did not happen at Vaux-le-Vicomte but at the Paris residence of the Duke.

In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction. The château was empty, some of the outbuildings had fallen into ruin, and the famous gardens were totally overgrown. The huge task of restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, assisted by the landscape architect Elie Lainé. When Sommier died in 1908, the château and the gardens had recovered their original appearance. His son, Edme Sommier, and his daughter-in-law completed the task. Today, his descendants continue to preserve the château, which remains privately owned by Patrice and Cristina de Vogüé, the Count and Countess de Vogüé. It is now administered by their three sons Alexandre, Jean-Charles and Ascanio de Vogüé. Recognized by the state as a monument historique, it is open to the public regularly.

Architecture

The chateau is situated near the northern end of a 1.5-km long north-south axis with the entrance front facing north. Its elevations are perfectly symmetrical to either side of this axis. Somewhat surprisingly the interior plan is also nearly completely symmetrical with few differences between the eastern and western halves. The two rooms in the center, the entrance vestibule to the north and the oval salon to the south, were originally an open-air loggia, dividing the chateau into two distinct sections. The interior decoration of these two rooms was therefore more typical of an outdoor setting. Three sets of three arches, those on the entrance front, three more between the vestibule and the salon, and the three leading from the salon to the garden are all aligned and permitted the arriving visitor to see through to the central axis of the garden even before entering the chateau. The exterior arches could be closed with iron gates, and only later were they filled in with glass doors and the interior arches with mirrored doors. Since the loggia divided the building into two halves, there are two symmetrical staircases on either side of it, rather than a single staircase. The rooms in the eastern half of the house were intended for the use of the king, those in the western were for Fouquet. The provision of a suite of rooms for the king was normal practice in aristocratic houses of the time, since the king travelled frequently.

Another surprising feature of the plan is the thickness of the main body of the building (corps de logis), which consists of two rows of rooms running east and west. Traditionally the middle of the corps de logis of French chateaux consisted of a single row of rooms. Double-thick corps de logis had already been used in hôtels particuliers in Paris, including Le Vau's Hôtel Tambonneau, but Vaux was the first chateau to incorporate this change. Even more unusual, the main rooms are all on the ground floor rather than the first floor (the traditional piano nobile). This accounts for the lack of a grand staircase or a gallery, standard elements of most contemporary chateaux. Also noteworthy are corridors in the basement and on the first floor which run the length of house providing privacy to the rooms they access. Up to the middle of the 17th century, corridors were essentially unknown. Another feature of the plan, the four pavilions, one at each corner of the building, is more conventional.

Vaux-le-Vicomte was originally planned to be constructed in brick and stone, but after the mid-century, as the middle classes began to imitate this style, aristocratic circles began using stone exclusively. Rather late in the design process, Fouquet and Le Vau switched to stone, a decision that may have been influenced by the use of stone at François Mansart's Château de Maisons. The service buildings flanking the large avant-cour to the north of the house remained in brick and stone, and other structures preceding them were in rubble-stone and plaster, a social ranking of building materials that would be common in France for a considerable length of time thereafter.

The main chateau is constructed entirely on a moated platform, reached via two bridges, both aligned with the central axis and placed on the north and south sides. The moat is a picturesque holdover from medieval fortified residences, and is again a feature that Le Vau may have borrowed from Maisons. The moat at Vaux may also have been inspired by the previous chateau on the site, which Le Vau's work replaced.

Gardens

The château rises on an elevated platform in the middle of the woods and marks the border between unequal spaces, each treated in a different way. This effect is more distinctive today, as the woodlands are mature, than it was in the seventeenth century when the site had been farmland, and the plantations were new.

Le Nôtre's garden was the dominant structure of the great complex, stretching nearly a mile and a half (3 km), with a balanced composition of water basins and canals contained in stone curbs, fountains, gravel walks, and patterned parterres that remains more coherent than the vast display Le Nôtre was to create at Versailles.

Le Nôtre created a magnificent scene to be viewed from the house, using the laws of perspective. Le Notre used the natural terrain to his advantage. He placed the canal at the lowest part of the complex, thus hiding it from the main perspectival point of view. Past the canal, the garden ascends a large open lawn and ends with the Hercules column added in the 19th century. Shrubberies provided a picture frame to the garden that also served as a stage for royal fêtes.

From the top of the grand staircase, this gives the impression that the entire garden is revealed in one single glance. Initially, the view consists of symmetrical rows of shrubbery, avenues, fountains, statues, flowers and other pieces developed to imitate nature – these elements exemplify the Baroque desire to mold nature to fit its wishes, thus using nature to imitate nature. The centerpiece is a large reflecting pool flanked by grottos holding statues in their many niches. The grand sloping lawn is not visible until one begins to explore the garden, when the viewer is made aware of the optical elements involved and discovers that the garden is much larger than it looks.