Charlottenborg Palace is a large mansion originally built as a residence for Ulrik Frederik Gyldenløve. It has served as the base of the Royal Danish Academy of Fine Arts since its foundation in 1754. Several other institutions of the Danish art world are also based at Charlottenborg, which today also serves as an exhibition space for art exhibitions, which is called Kunsthal Charlottenborg.
The site was donated by King Christian V to his half brother Ulrik Frederik Gyldenløve on 22 Marts 1669 in connection with the establishment of Kongens Nytorv. Gyldenløve built his new mansion from 1672 to 1683 as the first building on the new square. The main wing and two lateral wings were built from 1672 to 1677, probably under the architect Ewert Janssen. In 1783 mansion was extended with a rear, fourth wing was designed by Lambert van Haven.
In his old age, the large mansion became too big for Gyldenløve who sold it to the dowager queen Charlotte Amalie in 1700, hence the name. After the King Christian V´s death in 1699 the Queen Mother, Charlotte Amalie, purchased the Palace for 50,000 Danish crowns. Hereafter named Charlottenborg Palace. In 1714, when the Queen Downer died, it was passed to King Christian VI. Renovations began in 1736-1737, and its use and users shifted for a period of time. A small theater was constructed and used for various concerts, operas and theatrical performances. The Palace Garden contained the Botanical Garden between 1778-1872.
In 1701, the old Academy of Arts began its activities in the Palace. The small school slowly grew and was finally formally inaugurated in the Charlottenborg Palace on March 31, 1754. In 1787, the ownership of the Palace was transferred to The Royal Danish Academy of Art. The Academy still occupies the Palace.
Charlottenborg is a four-winged, three-storey building designed in the Dutch Baroque style but also with some Italian influence. The main wing towards the square has a central risalit flanked by two more pronounced, two-bay corner risalit. All three are topped by balustrades. The central risalit is decorated with Corinthian pilasters and a Tuscan/Doric portal with balcony The facade has sandstone decorations and window pediments.
The lower rear wing consists of three pavilions. The central pavilion has a Tuscan arcade below, niches with busts above, and a lantern on the copper-covered roof.
The floor plan is remniscient of French castles. It has a piano nobile with a banguet hall above the main entrance, with access to the balcony, a ground floor with lower ceilings, and a second floors for servants with even lower ones. Ths arrangement became characteristic of mansions and upper-class town houses in the entire 18th century. In the rear wing, above the arcade, there is a well-preserved domed Baroque room with a splendid stucco ceiling.References:
The Mosque–Cathedral of Córdoba, also known as the Great Mosque of Córdoba and the Mezquita is regarded as one of the most accomplished monuments of Moorish architecture.
According to a traditional account, a small Visigoth church, the Catholic Basilica of Saint Vincent of Lérins, originally stood on the site. In 784 Abd al-Rahman I ordered construction of the Great Mosque, which was considerably expanded by later Muslim rulers. The mosque underwent numerous subsequent changes: Abd al-Rahman II ordered a new minaret, while in 961 Al-Hakam II enlarged the building and enriched the Mihrab. The last of such reforms was carried out by Almanzor in 987. It was connected to the Caliph"s palace by a raised walkway, mosques within the palaces being the tradition for previous Islamic rulers – as well as Christian Kings who built their palaces adjacent to churches. The Mezquita reached its current dimensions in 987 with the completion of the outer naves and courtyard.
In 1236, Córdoba was conquered by King Ferdinand III of Castile, and the centre of the mosque was converted into a Catholic cathedral. Alfonso X oversaw the construction of the Villaviciosa Chapel and the Royal Chapel within the mosque. The kings who followed added further Christian features, such as King Henry II rebuilding the chapel in the 14th century. The minaret of the mosque was also converted to the bell tower of the cathedral. It was adorned with Santiago de Compostela"s captured cathedral bells. Following a windstorm in 1589, the former minaret was further reinforced by encasing it within a new structure.
The most significant alteration was the building of a Renaissance cathedral nave in the middle of the expansive structure. The insertion was constructed by permission of Charles V, king of Castile and Aragon. Artisans and architects continued to add to the existing structure until the late 18th century.
The building"s floor plan is seen to be parallel to some of the earliest mosques built from the very beginning of Islam. It had a rectangular prayer hall with aisles arranged perpendicular to the qibla, the direction towards which Muslims pray. The prayer hall was large and flat, with timber ceilings held up by arches of horseshoe-like appearance.
In planning the mosque, the architects incorporated a number of Roman columns with choice capitals. Some of the columns were already in the Gothic structure; others were sent from various regions of Iberia as presents from the governors of provinces. Ivory, jasper, porphyry, gold, silver, copper, and brass were used in the decorations. Marvellous mosaics and azulejos were designed. Later, the immense temple embodied all the styles of Morisco architecture into one composition.
The building is most notable for its arcaded hypostyle hall, with 856 columns of jasper, onyx, marble, granite and porphyry. These were made from pieces of the Roman temple that had occupied the site previously, as well as other Roman buildings, such as the Mérida amphitheatre. The double arches were an innovation, permitting higher ceilings than would otherwise be possible with relatively low columns. The double arches consist of a lower horseshoe arch and an upper semi-circular arch.