The Lala Mustafa Pasha Mosque originally known as Saint Nicholas's Cathedral and later as the Ayasofya (Saint Sophia) Mosque of Magusa, is the largest medieval building in Famagusta, Northern Cyprus. The cathedral was constructed from 1298 to 1312 and was consecrated in 1328. 'After an unfortunate episode when the current bishop embezzled the restoration fund', Bishop Guy of Ibelin bequeathed 20,000 bezants for its construction. The Lusignans would be crowned as Kings of Cyprus in the St. Sophia Cathedral (now Selimiye Mosque) in Nicosia and then crowned as Kings of Jerusalem in the St Nicholas Cathedral in Famagusta. The cathedral was converted into a mosque after the Ottoman Empire captured Famagusta in 1571 and it remains a mosque to this day.
The building is built in Rayonnant Gothic style, quite rare outside France, though 'mediated through buildings in the Rhineland'. The historic tie between France and Cyprus is evidenced by its parallels to French archetypes such as Reims Cathedral. Indeed, so strong is the resemblance, that the building has been dubbed 'The Reims of Cyprus'; it was built with three doors, twin towers over the aisles and a flat roof, typical of Crusader architecture.
The upper parts of the cathedral's two towers suffered from earthquakes, were badly damaged during the Ottoman bombardments of 1571, and were never repaired. With the Venetians defeated and Famagusta fallen by August 1571, Cyprus fell under Ottoman control and the cathedral was converted into a mosque, renamed the 'St.Sophia Mosque of Mağusa'.
Islamic tradition prohibits the depiction of creatures or iconography; consequently, nearly all statuary, cruciforms, stained glass, frescos, and paintings were removed or plastered over, as well as most tombs and the altar. The Gothic structure was preserved however, and a few tombs can still be identified in the north aisle.In 1954, it was renamed the Lala Mustafa Pasha Mosque after the commander of the 1570 Ottoman conquest- infamous for the gruesome torture of Marco Antonio Bragadin, the Venetian commander of the city's fortress. Bragadin had surrendered the city following a brutal 10-month siege in which 6,000 Christian defenders held off an army of more than 100,000 Ottoman Turks. A pledge of amnesty was secured from Lala Mustafa Pasha- who then reneged and had Bragadin beaten, his ears and nose cut off, publicly humiliated, and flayed alive.References:
The Jelling stones are massive carved runestones from the 10th century, found at the town of Jelling in Denmark. The older of the two Jelling stones was raised by King Gorm the Old in memory of his wife Thyra. The larger of the two stones was raised by King Gorm's son, Harald Bluetooth in memory of his parents, celebrating his conquest of Denmark and Norway, and his conversion of the Danes to Christianity. The runic inscriptions on these stones are considered the most well known in Denmark.
The Jelling stones stand in the churchyard of Jelling church between two large mounds. The stones represent the transitional period between the indigenous Norse paganism and the process of Christianization in Denmark; the larger stone is often cited as Denmark's baptismal certificate (dåbsattest), containing a depiction of Christ. They are strongly identified with the creation of Denmark as a nation state and both stones feature one of the earliest records of the name 'Danmark'.
After having been exposed to all kinds of weather for a thousand years cracks are beginning to show. On the 15th of November 2008 experts from UNESCO examined the stones to determine their condition. Experts requested that the stones be moved to an indoor exhibition hall, or in some other way protected in situ, to prevent further damage from the weather.
Heritage Agency of Denmark decided to keep the stones in their current location and selected a protective casing design from 157 projects submitted through a competition. The winner of the competition was Nobel Architects. The glass casing creates a climate system that keeps the stones at a fixed temperature and humidity and protects them from weathering. The design features rectangular glass casings strengthened by two solid bronze sides mounted on a supporting steel skeleton. The glass is coated with an anti-reflective material that gives the exhibit a greenish hue. Additionally, the bronze patina gives off a rusty, greenish colour, highlighting the runestones' gray and reddish tones and emphasising their monumental character and significance.