Hedeby is the Southernmost Nordic town, and played an important role as a key trading center in the viking age. It is at the crossroads of the Slien Fjord and the Baltic Sea to the East, streams that led to the Atlantic running close by to the West and the main land route, the Army Road running along the Jutland high ridge up along the Eastern side of Jutland.
The city area is surrounded by a 1300 meter long city wall in a half circle around the city area. The city wall is in places still 10 meters high, and was directly connected to the wall, Danevirke, which crossed the entire peninsula of Jutland with Hedeby as the Eastern edge.
Today the city wall can be distinguished from the surroundings by the trees that grow on it. The city area is 6 hectares large. Hedeby is known to exist as early as in the 8th century. A written source tells of the arrival of King Godfred to Hedeby in 804 with his army. And in 808 King Godfred closed down a Slavic trading center called Reric and moved all its merchants to Hedeby.
The Eastern side of the city area is an arm of the Slien Fjord. This was one of the biggest ports in the Baltic Sea at the time, and had its own defensive system with a chain fencing off the harbour area from the Fjord. Today an example of the kinds of bridges that the viking ships moored at has been created to illustrate how things looked. The cows in the picture are not a recreation of how things were - Hedeby was so large and specialized a trading and crafts construction center that cows inside the Hedeby city wall would be as unusual then as cows on today"s Champs Elysees in Paris would be.
One of the finds made in Hedeby is a large viking ship, which is on display at the Hedeby Museum, along with a model of the original. This is a warship, and probably not the most typical ship type that visited Hedeby, which would see a lot of cargo ships bringing and leaving with different goods, primarily from the Baltic Sea area and Russia.
Hedeby was built around a small stream that runs down through the area, dividing it into a Northern and a Southern section. The reconstructed houses are located just North of the stream, at its original edge.
Around 1050 Hedeby was sacked again and probably destroyed by the attackers, and it was never rebuilt. Around the same time the town of Schleswig at the Northern edge of the Slien Fjord grew steadily in size and importance. A possible reason could be that the ship traffic increasingly needed a deeper harbour than Hedeby could offer.References:
From 1239, Raynaud, the Bishop of Quimper, decided on the building of a new chancel destined to replace that of the Romanesque era. He therefore started, in the far west, the construction of a great Gothic cathedral which would inspire cathedral reconstructions in the Ile de France and would in turn become a place of experimentation from where would later appear ideas adopted by the whole of lower Brittany. The date of 1239 marks the Bishop’s decision and does not imply an immediate start to construction. Observation of the pillar profiles, their bases, the canopies, the fitting of the ribbed vaults of the ambulatory or the alignment of the bays leads us to believe, however, that the construction was spread out over time.
The four circular pillars mark the start of the building site, but the four following adopt a lozenge-shaped layout which could indicate a change of project manager. The clumsiness of the vaulted archways of the north ambulatory, the start of the ribbed vaults at the height of the south ambulatory or the choice of the vaults descending in spoke-form from the semi-circle which allows the connection of the axis chapel to the choir – despite the manifest problems of alignment – conveys the hesitancy and diverse influences in the first phase of works which spread out until the start of the 14th century.
At the same time as this facade was built (to which were added the north and south gates) the building of the nave started in the east and would finish by 1460. The nave is made up of six bays with one at the level of the facade towers and flanked by double aisles – one wide and one narrow (split into side chapels) – in an extension of the choir arrangements.
The choir presents four right-hand bays with ambulatory and side chapels. It is extended towards the east of 3-sided chevet which opens onto a semi-circle composed of five chapels and an apsidal chapel of two bays and a flat chevet consecrated to Our Lady.
The three-level elevation with arches, triforium and galleries seems more uniform and expresses anglo-Norman influence in the thickness of the walls (Norman passageway at the gallery level) or the decorative style (heavy mouldings, decorative frieze under the triforium). This building site would have to have been overseen in one shot. Undoubtedly interrupted by the war of Succession (1341-1364) it draws to a close with the building of the lierne vaults (1410) and the fitting of stained-glass windows. Bishop Bertrand de Rosmadec and Duke Jean V, whose coat of arms would decorate these vaults, finished the chancel before starting on the building of the facade and the nave.
Isolated from its environment in the 19th century, the cathedral was – on the contrary – originally very linked to its surroundings. Its site and the orientation of the facade determined traffic flow in the town. Its positioning close to the south walls resulted in particuliarities such as the transfer of the side gates on to the north and south facades of the towers: the southern portal of Saint Catherine served the bishop’s gate and the hospital located on the left bank (the current Préfecture) and the north gate was the baptismal porch – a true parish porch with its benches and alcoves for the Apostles’ statues turned towards the town, completed by an ossuary (1514).
The west porch finds its natural place between the two towers. The entire aesthetic of these three gates springs from the Flamboyant era: trefoil, curly kale, finials, large gables which cut into the mouldings and balustrades. Pinnacles and recesses embellish the buttresses whilst an entire bestiary appears: monsters, dogs, mysterious figures, gargoyles, and with them a whole imaginary world promoting a religious and political programme. Even though most of the saints statues have disappeared an armorial survives which makes the doors of the cathedral one of the most beautiful heraldic pages imaginable: ducal ermine, the Montfort lion, Duchess Jeanne of France’s coat of arms side by side with the arms of the Cornouaille barons with their helmets and crests. One can imagine the impact of this sculpted decor with the colour and gilding which originally completed it.
At the start of the 16th century the construction of the spires was being prepared when building was interrupted, undoubtedly for financial reasons. Small conical roofs were therefore placed on top of the towers. The following centuries were essentially devoted to putting furnishings in place (funeral monuments, altars, statues, organs, pulpit). Note the fire which destroyed the spire of the transept cross in 1620 as well as the ransacking of the cathedral in 1793 when nearly all the furnishings disappeared in a « bonfire of the saints ».
The 19th century would therefore inherit an almost finished but mutilated building and would devote itself to its renovation according to the tastes and theories of the day.