Trinity Church (Heliga Trefaldighetskyrkan) was built between 1617 and 1628 by Christian IV of Denmark. He had founded the city of Kristianstad in 1614 at a time when Scania was part of the Kingdom of Denmark. The church's large size and style reveal the king's ambitions for his new city.
Designed by the Flemish-Danish architect, Lorenz van Steenwinckel, the grandiose building is widely considered by many to be Scandinavia's finest Renaissance church. Its extensive nave is able to accommodate congregations of up to 1,400. Like many Danish churches of the times, it is built of red brick. But this church is decorated with many sandstone statues and ornaments, including several monograms of Christian IV, testifying to his involvement.
The well-preserved interior is decked with star-shaped cross vaults, supported by pillars of granite. Trinity Church has been little altered since it was built. The main addition is its 59-meter-tall tower constructed in 1865. The church is pleasantly and abundantly illuminated thanks to its 26 tall windows. The entrance through the western tower opens into a six-bay nave, with wide aisles, terminating in a projecting eastern sanctuary. The vaults are covered with a cross-gabled roof, with large ornamented gables on the north and south sides.
The pulpit, which is sculpted in Belgian and Italian marble, shows Christ and the four evangelists. The impressive canopy hanging above the pulpit weighs almost a ton. The Baroque organ case by German-born Johan Lorentz from 1630 is still equipped with the original pipes although the works themselves have been replaced. It is used both for concerts and church services. The delicately carved benches are as old as the church itself.References:
Kroměříž stands on the site of an earlier ford across the River Morava. The gardens and castle of Kroměříž are an exceptionally complete and well-preserved example of a European Baroque princely residence and its gardens and described as a UNESCO World Heritage Site.
The first residence on the site was founded by bishop Stanislas Thurzo in 1497. The building was in a Late Gothic style, with a modicum of Renaissance detail. During the Thirty Years' War, the castle was sacked by the Swedish army (1643).
It was not until 1664 that a bishop from the powerful Liechtenstein family charged architect Filiberto Lucchese with renovating the palace in a Baroque style. The chief monument of Lucchese's work in Kroměříž is the Pleasure Garden in front of the castle. Upon Lucchese's death in 1666, Giovanni Pietro Tencalla completed his work on the formal garden and had the palace rebuilt in a style reminiscent of the Turinese school to which he belonged.
After the castle was gutted by a major fire in March 1752, Bishop Hamilton commissioned two leading imperial artists, Franz Anton Maulbertsch and Josef Stern, arrived at the residence in order to decorate the halls of the palace with their works. In addition to their paintings, the palace still houses an art collection, generally considered the second finest in the country, which includes Titian's last mythological painting, The Flaying of Marsyas. The largest part of the collection was acquired by Bishop Karel in Cologne in 1673. The palace also contains an outstanding musical archive and a library of 33,000 volumes.
UNESCO lists the palace and garden among the World Heritage Sites. As the nomination dossier explains, 'the castle is a good but not outstanding example of a type of aristocratic or princely residence that has survived widely in Europe. The Pleasure Garden, by contrast, is a very rare and largely intact example of a Baroque garden'. Apart from the formal parterres there is also a less formal nineteenth-century English garden, which sustained damage during floods in 1997.
Interiors of the palace were extensively used by Miloš Forman as a stand-in for Vienna's Hofburg Imperial Palace during filming of Amadeus (1984), based on the life of Wolfgang Amadeus Mozart, who actually never visited Kroměříž. The main audience chamber was also used in the film Immortal Beloved (1994), in the piano concerto scene.