Trnava is also referred to as the Slovak Rome due its architectural gems and sacral monuments. As early as in the Middle Ages, Trnava was an important centre of Gothic religious and lay architecture – St. Nicolas’s Church, St. Helen’s Church and several church monastery complexes (Clarist, Franciscan and Dominican) were built in this period. The document issued by King Belo IV in 1238, which contained privileges of the free royal borough for Trnava as the first Slovak town, is much more important in respect. Only several towns of central Europe can boast such large section of castle walls as that surviving in the eastern and western parts of the town core. For their high level of preservation the walls are unique and significant monuments of the kind in terms of Europe. Fortifications are from the 13th to 16th centuries.
The dominant of the square and in fact of the town, is the town tower. Master Jacob built it in 1574 on Gothic foundations and its view terrace provides a perfect view of Trnava and its environs.
The Early Baroque building of national significance, university church of St. John the Baptist is one of the most valuable historical monuments of Trnava. The monumental wooden main altar from 1640 dominates in its interior. Additional buildings including the college, grammar school, university, seminars and refectories accompany the university church.
Another Gothic monument, St. Nicholas Basilica, parish church stands on the square Námestie Sv. Mikuláša on the site of an older Romanesque church from the 14th century. It was a cathedral church of the Esztergom Archbishop in the years 1543-1820. Trnava is the first Slovak metropolitan seat of archbishop since 1978.
The District hospital was built 1824. The building of the theatre started in May 1831 and the first performance was played at Christmas. Both of the Trnava synagogues, historical structures with oriental motifs, date back to the 19th century. The Synagogue Status Quo Ante currently houses the Jána Koniareka art gallery.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.