The building of Århus Cathedral was started in the last decades of the 12th Century by Peter Vognsen, a member of famous aristocratic family Hviderne. He was ordained as a Bishop in 1191. The Cathedral - a magnificent Romanesque basilica - was a gigantic project and not finished until about 1350. Red bricks were used, a kind of material not otherwise used in Denmark before approx. 1160. The outer walls of this Cathedral and the beautiful chapels along the eastern wall of the transept are the only surviving Romanesque elements today.
The Cathedral, as it otherwise stands today, is the result of radical rebuilding in the Gothic style, undertaken from 1449 till about 1500, transforming the heavy and sombre building into a Gothic cathedral, inspired by the great contemporary churches in the Hanseatic towns around the Baltic Sea. Considerable height completed with cross- and star vaulting was added to the nave as well as to the aisles and the transept. The culmination however was the altogether reconstructed and enlarged chancel, now with three naves of the same height, an ambulatory and 13 high, pointed windows throwing cascades of light into this bright space.
With a length of 93 metres Århus Cathedral is the longest church in Denmark, and it seats approx. 1200 people. From the beginning it was dedicated to St Clement, the patron saint of sailors.
Århus Cathedral has largest total area of walls and arches covered by frescoes in Denmark. The paintings of St. Christopher and St. Clement are the tallest in the country. Other frescoes include St George and the Dragon, a three-tier picture representing Purgatory, The Day of Judgment, St Michael the Weigher of Souls, and numerous others. The frescoes were all made between 1470 and 1520, except the one surrounding the socalled leprosy window in the northwest corner of the Cathedral. It was painted in about 1300, and it is the oldest piece of art in the cathedral, the only one left from the Romanesque church.
The cathedral has a wonderful altarpiece carved by the famous Lübeck sculptor and painter Bernt Notke. It was dedicated on Easter Sunday 1479 and is one of Denmark's great treasures. The altarpiece is unusual in that it has movable sections, so different scenes may be viewed during the liturgical calendar. The pulpit was carved in oak by sculptor Michael von Groningen and dedicated in 1588. The baptismal font was created in copper by the famous bell maker, Peter Hansen of Flensborg, in 1481.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.