Glorup manor house is considered one of the finest Baroque complexes in Denmark. Glorup is first mentioned in 1390, but nothing is known about the building at that time and the name may refer to a village rather than a building. The first reliable documentation of Glorup is from the Renaissance Age, when Christoffer Valkendorff built a four-winged house in two storeys with four towers, surrounded by a moat. It was an impressive building for its time but only the foundation with the cellar and a sandstone tablet with a horse and the Valkendorf coat of arms are left of this house. Nowadays the tablet is placed over a door in the old riding-house.
Glorup was owned by the Valkendorf family from 1400 to 1661, when they were forced to sell the estate following the destructions of the Northern Wars. Glorup was then owned by the Ahlefeldt family from 1661-1711 before coming into the pocession of the Plessen family in 1711. In 1723, Privy Councillor Christian Ludvig Scheel-Plessen inherited Glorup and, from 1743 to 1744, rebuilt the house with the assistance of architect Philip de Lange. One storey disappeared and a Mansard roof was put on all four wings. The house was plastered and whitewashed. The form-language of the time was Baroque.
After the death of Scheel-Plessen in 1762, Glorup was purchased by Count Adam Gottlob Moltke of Bregentved, who at the same time bought Rygaard, the neighbouring manor, for 120,000 rigsdaler. The cost was partly covered by a prize of 60,000 which he had won on the lottery together with the dowry he received from his second wife. Moltke, a prominent and skillful farmer, put the manor on its feet again, helped by the rising prices of agricultural products in Europe. Count Moltke was very pleased with his new acquisition, but the house already looked old-fashioned. He therefore decided to have it modernized, commissioning Denmark's foremost architect, Nicolas-Henri Jardin, who had just assisted him at Marienlyst Palace, and his architectural designer Christian Josef Zuber.
Glorup Manor consists of four low white-washed wings with window frames, cornices and pilasters partly painted yellow. It is topped with a large Mansard roof in glazed black tile. The flèche on the roof was added from 1773 to 1775. A broad flight of steps leads up to the main entrance, and there are similar steps on the north and south sides of the house. The inside contains a series of elegant rooms, especially the dining hall decorated in gold and white and the entrance hall with its double staircase. The chapel from 1898 is built in Neo-Gothic style. It has a Catholic interior and a sepulchral chapel. The park was laid out between 1862 and 1875 by landscape architect Henrik August Flindt. An obelisk in the park commemorates a family reunion at Glorup in 1778.
The Moltke family, since 1843 as Moltke-Huitfeldt, still owns Glorup and Rygaard. The building seen today is in almost all respects as it was in 1765. The home farm was moved away from the main building in the 1860. The park has public access. The Glorup Estate with Rygaard Manor extends over 1,132 hectares.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.