Nakskov Church is the largest church in Nakskov on the east coast of the Danish island of Lolland. As Nakskov was mentioned in Valdemar's Census Book in the 13th century, the church probably dates to the same period. Remains of a wooden church from c. 1000 were unearthed in the 1950s. It was replaced by a brick church dedicated to Saint Nicholas which is first mentioned in 1398 although its oldest sections probably date from the early 13th century. It was completed in the second half of the 17th century. Major repairs were carried out in 1746 but further work proved necessary in 1825. Before the Danish Reformation, the church had a series of chapels and altars, each connected with the craftsmen's guilds in the town. Much of the documentation was destroyed when the Lübeckers plundered Nakskov in 1510.
Built of light red brick, the original chancel and nave were in the Romanesque style. Parts of these remain in the Gothic additions from the first half of the 15th century. Major extensions were added to both east and west, resulting in aisles on either side of the nave which virtually encapsulated the older construction. A large tower was also built at the west end of the former nave at the beginning of the 15th century. In the mid-17th century, after a period of some 200 years without further construction work, Gothic additions were completed. The Romanesque chancel was demolished while rectangular arches were added in the former walls. The spire which was repeatedly damaged by lightening was finally redesigned by H.C. Glahn in 1906.
The carved altarpiece in the auricular style from 1656 is the work of Anders Mortensen from Odense. The central painting of the Last Supper (which contains an image of Nakskov Church in the background) is topped by depictions of the Crucifixion and Christ's removal from the cross. There are also figures of the Evangelists and the Apostles, Christ Resurrected and also of Moses and Aaron. The pulpit, also in the Baroque auricular style, was completed by Jørgen Ringnis in 1630. It was presented to the church by Mayor Thyge Sørensen whose portrait, and that of his wife, have been included in the pulpit's decorations which also include the 12 apostles. Ringnis also designed the gallery (1631) with figures of the apostles which now stands below the organ loft. The organ was built by Johan Lorentz in 1648 and restored in 1968. On that occasion, Paul-Gerhard Andersen took pains to restore the organ's Baroque housing by Søren Ibsen.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.