Kronborg Castle is an outstanding example of the Renaissance castle, and one which played a highly significant role in the history of this region of northern Europe.
After he began to levy duty on ships passing through the Sound between Sjaelland and Scania around 1425, King Erik of Pomerania built a castle known as Krogen on the site occupied today by Kronborg. It was in 1574 that King Frederik II of Denmark used this site for the construction of his palace, to the designs of the architect Hans van Paeschen. It was given the name of Kronborg three years later, when the Flemish architect, Anthonis van Opbergen from Malines, was instructed to carry out a thorough restoration and enlargement of the palace. One of the new elements added at this time was a capacious banqueting hall, which was used for balls and theatrical performances.
On September 1629 Kronborg was devastated by fire, only the walls being left standing. Christian IV immediately commissioned the Surveyor General, Hans van Steenwinckel the Younger, to carry out the restoration of the castle, which largely conformed to its original appearance. Under Frederik III and Christian V large fortifications were built, the outer defensive works were considerably enlarged under Frederik IV, and the castle itself underwent substantial restoration and alteration. In 1785 it passed to the military. It has remained intact to the present day. It is world-renowned as Elsinore, the setting of Shakespeare's Hamlet.
The oldest part of Kronborg Castle consists of the two lower floors on the eastern end of the north wing, which formed part of Erik of Pomerania's Kroge castle. The medieval brickwork here extends well into the present-day third storey. Frederik II's palace was based on this relatively modest structure. The north wing was extended and joined to the old banqueting hall on the west, which was divided up to become the kitchen, brewhouse and guest chambers. To the south a medieval brick house was converted into an imposing royal chapel. The result was a three-sided complex of two-storey buildings; there appear to have been no buildings on the east side, overlooking the Sound, which was closed only by the earlier curtain wall.
With the king's abrupt change of plan in 1577, a magnificent banqueting hall was built on the south, joined to the north wing by a new three-storey suite of rooms with a regular courtyard facade. The lofty Trumpeter's Tower was added on the south side. At the same time a third storey was added to the buildings on the other three sides. Following the disastrous fire of 1629, the castle was reconstructed almost exactly as it had been before. The result is a Renaissance palace that reflects the piecemeal nature of its construction, with only the west wing having a facade designed as an integrated whole. The interior of the castle presents the same heterogeneity of style and layout as the exterior.
The chapel, which was the only building not to have been ravaged by fire in 1629, preserves its original altar, gallery and pews, with fine carvings and painted panels. The north wing, now a three-storey building faced with sandstone, has the royal apartments on its second storey. Although the layout of rooms is much as it was at the time of Frederik II, the decoration dates mainly from the 17th and 18th centuries. The top floor of the east wing was arranged as a long gallery in 1583, to enable the queen to reach the Banqueting Hall in the south wing.
The latter appears originally to have been divided into two levels at its east end, presumably providing a gallery, which has been removed. In its original form the Banqueting Hall had a magnificently carved and gilded ceiling and its walls were hung with tapestries. After the fire of 1629 it was rebuilt, to a greater height but less lavishly decorated. Only 14 of the tapestries, prepared for the north wall and depicting Danish kings, have survived; of these seven are on display at Kronborg, the remainder being in the National Museum in Copenhagen. Other important components of the Kronborg complex are the Little Hall in the west wing, the so-called 'Scottish Suite' in the west wing, and Frederik V's apartments on the top floor of the north wing.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.