The Abbey of Sainte-Trinité (the Holy Trinity), also known as Abbaye aux Dames, is a former monastery of women. The complex includes the Abbey Church of Sainte-Trinité. The abbey was founded as a Benedictine monastery of nuns in the late 11th century by William the Conqueror and his wife Matilda of Flanders as the Abbaye aux Dames ('Women's Abbey'), as well as the Abbaye aux Hommes ('Men's Abbey'), formally the Abbey of Saint-Étienne. The works began in 1062, starting from the rear and finished in 1130. Matilda, who died in 1083, was buried in the choir under a slab of black marble.
The original spires were destroyed in the Hundred Years' War and replaced by less striking balustrades in the early 18th century. The community of nuns were dispersed and suppressed by the French Revolution. In 1823 the local city council decided to transfer the ancient Hôtel-Dieu (possibly also founded by William the Conqueror, but more likely King Henry II of England), to the former cloister for use as a hospital, and the canonesses regular, who had assumed responsibility for the hospital from the two abbeys during the 14th century, established themselves there. The canonesses continued to operate there until 1908 when the facility was given to the Hospice Saint-Louis for use as a nursing home. The vault was demolished and rebuilt in 1865. The church was last restored between 1990 and 1993.
The façade has two large towers on the sides, each with doors leading to the aisles. The pediment of the central bay echoes the nave roof. The tympanum of the central portal depicts the Trinity and the four apocalyptic beasts, symbols of the Four Evangelists.
The nave is flanked by pointed arches surmounted by a gallery (triforium) which supports the groin vault, the first of this type built in Normandy (1130). The transept, in the centre of the church, houses the main altar. The northern transept is in Romanesque style, opening over a small apse (the chapel of the Blessed Sacrament) which houses the tabernacle. The southern transept is characterised by Gothic columns integrated within the Romanesque decoration. The choir ends with an apse decorated by four columns and a gallery with fantastic figures. Also present is a crypt in honour of Saint Nicholas.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.