The current Jelling church was built of limestone around the year 1100. Archaeologists have found traces of three earlier wooden churches on the site. The first wooden church built on the site of the present edifice was the largest of its kind anywhere in Scandinavia. Archaeological evidence suggests that it was built in the later 10th century, during the period around 960 when Harald Bluetooth introduced Christianity into Denmark, as he proclaims on the larger of the two runic stones.

The part of the church burned down in 1679 and it was restored with a new porch. The pulpit dates from the 1650s. Mural paintings were in bad shape until Julius Magnus Petersen replaced them with copies in 1875. Jelling church is part of the UNESCO World Heritage site with Jelling mounds and runestones.

References:

Comments

Your name



Address

Thyrasvej 3, Jelling, Denmark
See all sites in Jelling

Details

Founded: c. 1100
Category: Religious sites in Denmark
Historical period: The First Kingdom (Denmark)

More Information

whc.unesco.org

Rating

4.6/5 (based on Google user reviews)

User Reviews

Keizer Soze (3 years ago)
Local church, graveyard and symbolic place with a beautiful history, that starts in the Middleages. Two enormous, ancient stones engraved by the first Dutch kings. Very nice attracion with a splendid sight on surrounding houses, and a former historic village. Around the place there are fortifications partly reconstructed for tourists to imagine the size of the historic location.
Flemming Lorenzen (3 years ago)
Nice....
Krister (4 years ago)
The graet vikingking Gorm the old is probably the on laying under the floor here.
Dani Rojo Gama (5 years ago)
Located next to the stone that represents the adoption of Christianity as the main religion of the Vikings
Bödvar Tomasson (9 years ago)
The rune-stones are a must see for all interested in viking history, marking the birth certificate of Denmark and of great historic value for all the Scandinavian countries.
Powered by Google

Featured Historic Landmarks, Sites & Buildings

Historic Site of the week

Quimper Cathedral

From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.

The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.

At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.

The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.

The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.

Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).

The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.

At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».

The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.