The date of the present St. Brelade's is unknown, but it is mentioned in deeds of patronage. In AD 1035, Robert of Normandy confirmed the patronage of the church to the monastery of Montivilliers, which shows that the church was here before 1035. The chancel is the oldest part of the building. The original building extended some six feet into the nave. It was then only a small monastic chapel. Early in the 12th century St. Brelade's became a parish church and in the 14th–15th centuries, the roof was raised some two-and-a-half feet higher to a Gothic pitch. The roof of the Fishermen's Chapel was raised at the same time.
The church of the 12th century was cruciform in structure, consisting of a chancel, a nave (built in two periods) and two transepts—the latter forming the two arms. At a later date, perhaps a century later, the chancel aisle was built, and after that the nave aisle. The date of the tower is uncertain. It is, however, older than the chancel.
The font disappeared during the Reformation and was found on the slopes near the church, hidden in bracken and gorse, in 1840 and restored to the church. An ornate wooden cover for the font was provided in memory of H. G. Shepard, long-time warden at the church. A processional cross dating from the 13th century is to be seen in the Lady Chapel; this was found buried in the church. The stained glass is the work of Henry Thomas Bosdet and replaced plain glass windows dating from the Reformation iconoclasm.
Before the restoration of Balleine in the 1890s, the whole of the interior stone work was covered in plaster which was whitewashed; the plaster was removed to show the granite, and the whole re-pointed with cement. Balleine's restoration also saw Art Nouveau woodwork in the choir stalls and pulpit and modern paving in the chancel; it is made of five different types of Jersey granite and represents the waves breaking on the sea-shore.
The legend has the site of the church being placed in the centre of St Brelade's Bay and moved by night by fairy folk from their sacred site to where it now stands, until the workmen got the message and left it where it now stands.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.