Roskilde Cathedral is the earliest major ecclesiastical building in brick in northern Europe and had a profound influence on the spread of brick for this purpose over the whole region. Both in its form and in its setting it is an outstanding example of a north European cathedral complex, especially noteworthy for the successive architectural styles used in the ancillary chapels and porches added during the centuries during which it has served as the mausoleum of the Danish royal family.
The first religious structure on the site was a wooden church built around 980 by King Harald Bluetooth. This was replaced successively by two travertine structures, built in 1030 and 1080 respectively. In the mid-12th century brick-making was introduced into Denmark by craftsmen from Lombardy, and Bishop Absalom decided around 1170 to rebuild his cathedral in this new material; his work was continued after his death in 1191 by his successor, Bishop Peder Suneson. The original structure was Romanesque; however, when only the eastern half had been built the plan was changed, under the influence of Gothic. The transept was located further back and the towers planned for the choir were removed to the west end. Work was virtually complete by around 1275, apart from the north tower, finished at the end of the 14th century.
Roskilde Cathedral is an aisled basilica in Gothic style with a semi-circular chancel gallery. The structure is essentially in brick, with occasional use of small boulders in the interior. Externally the walls stand on a plinth of granite ashlars two courses high; in the interior there is a hollow chamfered plinth of the same material. Traces have been found of the use of squared oak beams for reinforcement, further evidence of the early date of the structure, at a period when the builders were still uncertain about the properties of the new material, brick. The interior walls were originally bare, apart from the vaulting and the soffits of the arches, which were plastered. Most of the original rich wall paintings have disappeared.
Oluf Mortensen's Porch, named after the mid-15th-century bishop who commissioned it, is one of the finest examples of Danish brick Gothic architecture. Stylistically it is linked with the Gothic brick architecture of northern Germany. It is noteworthy for its fine roof gable and for the asymmetrical but finely balanced form of the lower part of the gable facade. The bricks used for the walling are remarkable for their richness of shading, which demonstrates excellent control of the brick-making process.
In the centuries that followed, chapels, porches, and other structures were built around the cathedral, first by bishops and nobles and later by the royal family, which partly hid the original structure. These included the chapter-house, gradually extended from the early 13th century to the end of the 15th century, the chapels of St Andrew (1387) and St Bridget (later 15th century). Royal additions included the Chapel of the Magi (Christian I: 1460), the Chapel of Christian IV (early 17th century, replacing two earlier chapels), and the Chapel of Frederik V (1772, in neoclassical style). Two royal chapels were built in the present century: the Chapel of Christian IX (1924) and the detached New Royal Ground (1985).
The two-storeyed Chapel of the Magi, completed around 1463, was originally built from glazed brick, but little remains of the glazing. The second storey, known as the Knights' Hall, contains some noteworthy carved stone. The main feature of the Chapel is, however, its rich late medieval mural decoration, which entirely covers the walls and vaults. Christian IV's Chapel, designed as a sepulchral chapel for the king, was the first post-medieval addition to the cathedral. It is constructed in the Dutch Renaissance Style. The steep ribbed vault is the largest in Denmark.
Frederik V's Chapel has a cruciform central chamber connected by a transverse building to the south aisle of the cathedral. Many of the medieval furnishings of the cathedral disappeared at the Reformation, and more were sold at a notorious auction in 1806. Of what remains the outstanding piece is the reredos, a masterpiece of Dutch religious art dating from around 1560. It is a triptych, probably from Antwerp, and bears scenes from the life of Christ. The canons' stalls of 1420 are of considerable importance because of the unique series of pictures on them.References:
The Porta Nigra (Latin for black gate) is the largest Roman city gate north of the Alps. It is designated as part of the Roman Monuments, Cathedral of St. Peter and Church of Our Lady in Trier UNESCO World Heritage Site. The name Porta Nigra originated in the Middle Ages due to the darkened colour of its stone; the original Roman name has not been preserved. Locals commonly refer to the Porta Nigra simply as Porta.
The Porta Nigra was built in grey sandstone between 186 and 200 AD. The original gate consisted of two four-storied towers, projecting as near semicircles on the outer side. A narrow courtyard separated the two gate openings on either side. For unknown reasons, however, the construction of the gate remained unfinished. For example, the stones at the northern (outer) side of the gate were never abraded, and the protruding stones would have made it impossible to install movable gates. Nonetheless, the gate was used for several centuries until the end of the Roman era in Trier.
In Roman times, the Porta Nigra was part of a system of four city gates, one of which stood at each side of the roughly rectangular Roman city. The Porta Nigra guarded the northern entry to the Roman city, while the Porta Alba (White Gate) was built in the east, the Porta Media (Middle Gate) in the south, and the Porta Inclyta (Famous Gate) in the west, next to the Roman bridge across the Moselle. The gates stood at the ends of the two main streets of the Roman Trier, one of which led north-south and the other east-west. Of these gates, only the Porta Nigra still exists today.
In the early Middle Ages the Roman city gates were no longer used for their original function and their stones were taken and reused for other buildings. Also iron and lead braces were broken out of the walls of the Porta Nigra for reuse. Traces of this destruction are still clearly visible on the north side of the gate.
After 1028, the Greek monk Simeon lived as a hermit in the ruins of the Porta Nigra. After his death (1035) and sanctification, the Simeonstift monastery was built next to the Porta Nigra to honor him. Saving it from further destruction, the Porta Nigra was transformed into a church: The inner court of the gate was roofed and intermediate ceilings were inserted. The two middle storeys of the former gate were converted into church naves: the upper storey being for the monks and the lower storey for the general public. The ground floor with the large gates was sealed, and a large outside staircase was constructed alongside the south side (the town side) of the gate, up to the lower storey of the church. A small staircase led further up to the upper storey. The church rooms were accessible through former windows of the western tower of the Porta Nigra that were enlarged to become entrance doors (still visible today). The top floor of the western tower was used as church tower, the eastern tower was leveled, and an apse added at its east side. An additional gate - the much smaller Simeon Gate - was built adjacent to the East side of the Porta Nigra and served as a city gate in medieval times.
In 1802 Napoleon Bonaparte dissolved the church in the Porta Nigra and the monastery beside it, along with the vast majority of Trier"s numerous churches and monasteries. On his visit to Trier in 1804, Napoleon ordered that the Porta Nigra be converted back to its Roman form. Only the apse was kept; but the eastern tower was not rebuilt to its original height. Local legend has it that Napoleon originally wanted to completely tear down the church, but locals convinced him that the church had actually been a Gaulish festival hall before being turned into a church. Another version of the story is that they told him about its Roman origins, persuading him to convert the gate back to its original form.
In 1986 the Porta Nigra was designated a World Heritage Site, along with other Roman monuments in Trier and its surroundings. The modern appearance of the Porta Nigra goes back almost unchanged to the reconstruction ordered by Napoleon. At the south side of the Porta Nigra, remains of Roman columns line the last 100 m of the street leading to the gate. Positioned where they had stood in Roman times, they give a slight impression of the aspect of the original Roman street that was lined with colonnades. The Porta Nigra, including the upper floors, is open to visitors.