Tågerup Church is a Romanesque parish church dating from the beginning of the 13th century. Its nave is richly decorated with early 16th-century frescos painted by the Brarup workshop. The church was originally dedicated to Our Lady as documented in a letter of indulgence from 1470. An altar dedicated to the Virgin Mary attracted large numbers of pilgrims on the Feast of the Annunciation until 1636. Little is known about the church's early ownership apart from the fact that the Crown had clerical appointment rights before the Reformation. The church remained under the Crown until 1725 when it was transferred to Emmerence von Levetzau together with Aalholm and Bremersvold. It continued to be owned by Bremersvold until it gained independence in 1911.
The church consists of a Romanesque chancel and nave, a Gothic tower and a more recent porch, all built in red brick. The chancel has lesenes on the east corners and a sloping base. The east gable's lower wall is engraved with crosses and emblems. There is a Romanesque window at the centre of the gable while a stilted arch freize with saw-toothed courses decorates the gable at the lower roof level. A round-arched door on the south side of the nave is also topped with an arched freize. The door on the north side has been bricked in. Several round-arched windows have survived. In the Late-Gothic period, a six-sectioned vault was added to the chancel while two cross-vaults covered the nave. The tower, also a Late-Gothic addition, is the same width as the nave and has a pyramidal spire. Rather drastic repairs were carried out by Hans Jørgen Holm in 1891-93.
The altarpiece contains a painting of Christ walking on water by Anton Dorph in a large Gothic frame. The pulpit in the Renaissance style is from 1586. There is a chancel-arch cross from the first half of the 15th century and another from around 1500 with a finely carved figure of Christ. Near the entrance, the Romanesque marble font with sculpted faces around the bowl is from Gotland.References:
The famous Italian Medici family have given two queens to France: Catherine, the spouse of Henry II, and Marie, widow of Henry IV, who built the current Luxembourg palace. Maria di Medici had never been happy at the Louvre, still semi-medieval, where the fickle king, did not hesitate to receive his mistresses. The death of Henry IV, assassinated in 1610, left the way open for Marie's project. When she became regent, she was able to give special attention to the construction of an imposing modern residence that would be reminiscent of the Palazzo Pitti and the Boboli Gardens in Florence, where she grew up. The development of the 25-hectare park, which was to serve as a jewel-case for the palace, began immediately.
The architect, Salomon de Brosse, began the work in 1615. Only 16 years later was the palace was completed. Palace of Luxembourg affords a transition between the Renaissance and the Classical period.
In 1750, the Director of the King's Buildings installed in the wing the first public art-gallery in France, in which French and foreign canvases of the royal collections are shown. The Count of Provence and future Louis XVIII, who was living in Petit Luxembourg, had this gallery closed in 1780: leaving to emigrate, he fled from the palace in June 1791.
During the French Revolution the palace was first abandoned and then moved as a national prison. After that it was the seat of the French Directory, and in 1799, the home of the Sénat conservateur and the first residence of Napoleon Bonaparte, as First Consul of the French Republic. The old apartments of Maria di Medici were altered. The floor, which the 80 senators only occupied in 1804, was built in the middle of the present Conference Hall.
Beginning in 1835 the architect Alphonse de Gisors added a new garden wing parallel to the old corps de logis, replicating the look of the original 17th-century facade so precisely that it is difficult to distinguish at first glance the old from the new. The new senate chamber was located in what would have been the courtyard area in-between.
The new wing included a library (bibliothèque) with a cycle of paintings (1845–1847) by Eugène Delacroix. In the 1850s, at the request of Emperor Napoleon III, Gisors created the highly decorated Salle des Conférences, which influenced the nature of subsequent official interiors of the Second Empire, including those of the Palais Garnier.
During the German occupation of Paris (1940–1944), Hermann Göring took over the palace as the headquarters of the Luftwaffe in France, taking for himself a sumptuous suite of rooms to accommodate his visits to the French capital. Since 1958 the Luxembourg palace has been the seat of the French Senate of the Fifth Republic.