Nysø Manor was built in 1673 for Jens Lauridsen. It was the first manor house in Denmark to be designed in the Baroque style. It is built in red brick and sandstone with a red-tiled roof and a granite plinth as a foundation. Nysø is thought to be the work of master builder Ewert Janssen who probably also built Charlottenborg Palace in Copenhagen shortly afterwards.
The house consists of a main wing with 11 bays and lateral wings to the north with an entrance in between. The central projects on the north and south sides are decorated with four Ionic pilasters which support triangular pediments. On the north side, there is a clock with two figures whose bells strike the hour. A moat originally encircled the entire building but in 1780 on the north side it was filled in to accommodate estate buildings. The Thorvaldsen Collection is housed in one of the red-brick buildings to the east.
Nysø is especially known for its role in the Danish cultural Golden Age of the early-to-mid-19th century when baron Hendrik Stampe and his wife Christine played host to many famous writers and artists, including Hans Christian Andersen and the sculptor Thorvaldsen. The latter spent much of his last six years here (1838–44), where he had a studio in the house and in the garden (the white structure in the picture above).
In the 19th century, Nysø was a popular venue for Golden Age artists including as Hans Christian Andersen, Bertel Thorvaldsen andNikolaj Grundtvig who visited baron Hendrik Stampe and his wife Christine. Thorvaldsen who had a studio in the house spent much of his last six years there. Today Nysø houses the Thorvaldsen Collection which is open to the public in the summer months.
The Thorvaldsen Museum including the Thorvaldsen collection is open for visitors in summer season. The collection contains Thorvaldsen's clay models, sculptures and drawings as well as artwork from other famous visitors.References:
The Church of Saint Demetrius, or Hagios Demetrios, is the main sanctuary dedicated to Saint Demetrius, the patron saint of Thessaloniki. It is part of the site Palaeochristian and Byzantine Monuments of Thessaloniki on the list of World Heritage Sites by UNESCO since 1988.
The first church on the spot was constructed in the early 4th century AD, replacing a Roman bath. A century later, a prefect named Leontios replaced the small oratory with a larger, three-aisled basilica. Repeatedly gutted by fires, the church eventually was reconstructed as a five-aisled basilica in 629–634. This was the surviving form of the church much as it is today. The most important shrine in the city, it was probably larger than the local cathedral. The historic location of the latter is now unknown.
The church had an unusual shrine called the ciborium, a hexagonal, roofed structure at one side of the nave. It was made of or covered with silver. The structure had doors and inside was a couch or bed. Unusually, it did not hold any physical relics of the saint. The ciborium seems to have been a symbolic tomb. It was rebuilt at least once.
The basilica is famous for six extant mosaic panels, dated to the period between the latest reconstruction and the inauguration of the Byzantine Iconoclasm in 730. These mosaics depict St. Demetrius with officials responsible for the restoration of the church (called the founders, ktetors) and with children. An inscription below one of the images glorifies heaven for saving the people of Thessalonica from a pagan Slavic raid in 615.
Thessaloniki became part of the Ottoman Empire in 1430. About 60 years later, during the reign of Bayezid II, the church was converted into a mosque, known as the Kasımiye Camii after the local Ottoman mayor, Cezeri Kasım Pasha. The symbolic tomb however was kept open for Christian veneration. Other magnificent mosaics, recorded as covering the church interior, were lost either during the four centuries when it functioned as a mosque (1493–1912) or in the Great Thessaloniki Fire of 1917 that destroyed much of the city. It also destroyed the roof and upper walls of the church. Black-and-white photographs and good watercolour versions give an idea of the early Byzantine craftsmanship lost during the fire.
Following the Great Fire of 1917, it took decades to restore the church. Tombstones from the city"s Jewish cemetery - destroyed by the Greek and Nazi German authorities - were used as building materials in these restoration efforts in the 1940s. Archeological excavations conducted in the 1930s and 1940s revealed interesting artifacts that may be seen in a museum situated inside the church"s crypt. The excavations also uncovered the ruins of a Roman bath, where St. Demetrius was said to have been held prisoner and executed. A Roman well was also discovered. Scholars believe this is where soldiers dropped the body of St. Demetrius after his execution. After restoration, the church was reconsecrated in 1949.