Eldena Abbey, originally Hilda Abbey, is a former Cistercian monastery. Only ruins survive, which are well known as a frequent subject of Caspar David Friedrich's paintings.
In the 12th century the Baltic coast south of the island of Rügen belonged to the Rani principality of Rügen, which in its turn was subject to the Danes. The Danish Cistercian monastery, Esrum Abbey, was thus able to found a daughter house in the area, Dargun Abbey, at Dargun, west of Demmin, in 1172. When in 1198 this monastery was destroyed in fighting between Denmark and Brandenburg, Jaromar I, Prince of the Rani, whose wife was of the Danish royal house, offered to re-settle the monks at a new site at the mouth of the River Ryck, close to the boundary between the territory of the Princes of Rügen, and the County of Gützkow, since the early 1120s subordinate to the Duchy of Pomerania.
The offer of the site, which included profitable salt-pans, was accepted, and in 1199 Hilda Abbey was founded and confirmed by Pope Innocent III in 1204. The monastery became wealthy from the salt trade and was very influential in the Christianisation of Western Pomerania. It also brought about the foundation at the beginning of the 13th century of the town of Greifswald, which started out as the monastery's trading settlement opposite the salt-pans, near the point where the via regia, an important trade route, crossed the river. After the Battle of Bornhöved in 1227 the Danes withdrew from this part of their former territories, and despite some competition from the princes of Rügen, the Duke of Pomerania, Wartislaw III, was able in 1248/49 to pressurise the abbey into subinfeudating Greifswald to him. Wartislaw was later buried in Eldena Abbey, as were later members of the ducal family, the House of Pomerania.
Throughout the 13th century, Eldena Abbey organized the cultivation and settlement of its growing estates in the Ostsiedlung process, allocating and founding Wendish, Danish and German villages. In the growing town of Greifswald however, the Cistercians of Eldena lost much of their influence the foundation in the town in the mid-13th century of friaries of the Franciscans (Greyfriars) and the Dominicans (Blackfriars).
The east end of the abbey church was built in about 1200, while the conventual buildings date from the mid-13th and 14th centuries, all in Brick Gothic. The final stages of construction were the west front and the nave of the church, which were completed in the 15th century.
The abbey was dissolved in 1535, when the Reformation was introduced into Pomerania by Duke Philip I, who took over its estates. The buildings were severely damaged during the Thirty Years' War. In 1634 the site was given to the University of Greifswald. The buildings fell into dereliction during the Swedish occupation of Western Pomerania (1648–1815) and the bricks were quarried for the building of fortifications.
By the beginning of the 19th century, when the Romantic painter Caspar David Friedrich knew the abbey, it was a ruin, which he made the subject of several paintings. Renewed public interest led to the beginning of restoration work in 1828, and on the basis of designs by the Prussian landscape gardener Peter Joseph Lenné a park was laid out on the abbey precinct.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.