Saint Paulinus' is one of the most important Baroque churches in Rhineland-Palatinate. Constructed between 1734 and 1753, the interior was designed by Johann Balthasar Neumann. The ceiling of the nave features a painting by the artist Christoph Thomas Scheffler. The tomb of the saint after whom the church is named, Paulinus of Trier, is located in the church's crypt.
Based in Germany's oldest city with a significant Roman history, three church buildings have stood on the site since the 4th century. Felix of Trier, a bishop of the city who held the post from 386 to 398, initiated the erection of a crypt and church on the current site of Saint Paulinus' Church, near a cemetery and just outside the walls of the city. Several centuries later, in 1093, a fire destroyed the building, but the crypt was spared damage.
Following the fire of the original, ancient church, a new building was constructed under Archbishop Bruno. Pope Eugene III consecrated the completed church in 1148. Smaller than the present building, the basilica featured a twin-tower façade with staircases either side, not unlike the balconies on the west face of the Cathedral of Trier, built for displaying relics to the public. French troops besieged and occupied Trier in 1673. In order to make space for an encampment, soldiers blew up the church the following year.
Sixty years after the destruction of the second church by French troops, Franz Georg von Schönborn-Buchheim, Archbishop of Trier, funded the erection of a new basilica. Designed as a single nave, probably by the architect Christian Kretzschmar, most of the internal elements were the work of Johann Balthasar Neumann, a significant Baroque architect responsible for several impressive buildings, such as the Würzburg Residence. Dates for the completion of the church are given as 1743 or 1753, but it was consecrated in 1757. The tower reaches a height of 53 metres, and the length of the building is 52 m.
Between 1802 and 1804, the monastery associated with the church was dissolved when assets were seized by the French, losing the church its collegial status and becoming a parish church instead. On 23 May 1958, Pope Pius XII awarded the church Basilica minor status.
As well as being the architect of the building, Neumann contributed his Rococo architectural flair to several internal elements, including the stucco work, ornate altars, and ciborium. The sculptor Ferdinand Tietz carried out several of Neumann's plans, carving elements such as the statuary and choir stalls. The ceiling of the nave features a large fresco painted by Christoph Thomas Scheffler, portraying scenes from the life of St Paulinus and depictions of the martyrdom of the Theban Legion.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.