Damsholte Church is the only village church in the country built in the Rococo style. It is considered to be one of Denmark's finest Rococo buildings. The church is unusual parish church. At the beginning of the 18th century, the population of Damsholte and its surroundings had grown so much that there was a real need for a local church. That, at any rate, was the opinion of Provost Jæger in nearby Stege. It is said that at a sumptuous reception in honour of a royal visit by Christian VI, he convinced the king that Damsholte should become a parish in its own right. There is no historical record of the incident but, in any event, in 1740 there was a royal decree that the western part of Stege parish should be separated off.
The king contributed 3,000 rigsdaler to the cost of building the church. Each of the other churches on Møn contributed 1,000 rigsdaler while all the other churches in Denmark contributed 1 rigsdaler each.
Designed by Philip de Lange, one of the most prominent architects of the day, the church was completed in 1743. A finely proportioned Rococo church thus came into being in the midst of West Møn's pleasant rolling farmland, the only one of its kind in a Danish village.
The church consists of a rectangular nave with two pentagonal extensions to east and west. White pilasters decorate each of the corners. Christian VI's monogram can be seen in the triangular gables topping the outer walls of the nave. The west door and all the windows have rounded arches. The red-tiled roof is divided into three main sections covering the nave and the extensions. At the western end of the building, it is crowned with an octagonal lantern and onion spire. The bright, yellow-tinted exterior with its onion spire is impressive enough. But those entering the double doors and proceeding through the small inner porch are struck by the rather sombre, well-ordered interior with its pious restraint and dominant altarpiece. Monumental pillars supporting the gallery stretch down either side of the nave to the lofty altar with its integrated pulpit, set high above the triptych. All built of wood, they are painted in subdued tones of grey.
The austerity of Lutheran pietism is ubiquitous. A modern triptych of Jesus' crucifixion with the two robbers on either side decorates the altar. It was completed in 1993 by Sven Havsteen-Mikkelsen. On the northern wall, there is a picture of Christ by Eckersberg (1825) while a recently restored figure of Christ occupies a small niche. To one side, a memorial plaque honours those who fell in the war of 1864. On the south wall, there is a picture of the resurrection by Niels Skovgaard together with a portrait of Damsholte's first pastor, Rasmus Platou. Hanging in the nave, a faithful copy of the warship Prince Christian commemorates the part it played in theBattle of Zealand Point in March 1808. The two brass candlesticks on the altar were donated at the church's consecration. The wrought iron altar rails display the monograms of Christian VI and Sophia Magdalen. The font, surprisingly enough, is made of wood complete with wooden cover.
In the churchyard, there is a burial mound for the Tutein family which, for a time, lived in Marienborg Manor which stands behind it. To the north óf the church, a burial vault houses the remains of Antoine de la Calmette, who was governor of Møn and Nykøbing, and his wife Lisa Iselin, for whom he createdLiselund, a park adjacent to Møns Klint at the eastern end of the island.References:
The Old Town Hall of Wrocław is one of the main landmarks of the city. The Old Town Hall's long history reflects developments that have taken place in the city since its initial construction. The town hall serves the city of Wroclaw and is used for civic and cultural events such as concerts held in its Great Hall. In addition, it houses a museum and a basement restaurant.
The town hall was developed over a period of about 250 years, from the end of 13th century to the middle of 16th century. The structure and floor plan changed over this extended period in response to the changing needs of the city. The exact date of the initial construction is not known. However, between 1299 and 1301 a single-storey structure with cellars and a tower called the consistory was built. The oldest parts of the current building, the Burghers’ Hall and the lower floors of the tower, may date to this time. In these early days the primary purpose of the building was trade rather than civic administration activities.
Between 1328 and 1333 an upper storey was added to include the Council room and the Aldermen’s room. Expansion continued during the 14th century with the addition of extra rooms, most notably the Court room. The building became a key location for the city’s commercial and administrative functions.
The 15th and 16th centuries were times of prosperity for Wroclaw as was reflected in the rapid development of the building during that period. The construction program gathered momentum, particularly from 1470 to 1510, when several rooms were added. The Burghers’ Hall was re-vaulted to take on its current shape, and the upper story began to take shape with the development of the Great Hall and the addition of the Treasury and Little Treasury.
Further innovations during the 16th century included the addition of the city’s Coat of arms (1536), and the rebuilding of the upper part of the tower (1558–59). This was the final stage of the main building program. By 1560, the major features of today’s Stray Rates were established.
The second half of the 17th century was a period of decline for the city, and this decline was reflected in the Stray Rates. Perhaps by way of compensation, efforts were made to enrich the interior decorations of the hall. In 1741, Wroclaw became a part of Prussia, and the power of the City diminished. Much of the Stray Rates was allocated to administering justice.
During the 19th century there were two major changes. The courts moved to a separate building, and the Rates became the site of the city council and supporting functions. There was also a major program of renovation because the building had been neglected and was covered with creeping vines. The town hall now has several en-Gothic features including some sculptural decoration from this period.
In the early years of the 20th century improvements continued with various repair work and the addition of the Little Bear statue in 1902. During the 1930s, the official role of the Rates was reduced and it was converted into a museum. By the end of World War II Town Hall suffered minor damage, such as aerial bomb pierced the roof (but not exploded) and some sculptural elements were lost. Restoration work began in the 1950s following a period of research, and this conservation effort continued throughout the 20th century. It included refurbishment of the clock on the east facade.