The archaeological open-air museum Biskupin is a life-size model of an Iron Age fortified settlement in Poland. When first discovered it was thought to be early evidence of Slavic settlement but archaeologists later confirmed it belonged to the Biskupin group of the Lusatian culture. The settlement belongs to the Hallstatt C and D periods (early Iron Age, 800-650 BC and 650-475 BC).
In 1933 Polish archaeologists discovered remains of a Bronze Age fort or settlement in Wielkopolska (Greater Poland), the discovery became famous overnight. The site soon became part of Polish national consciousness, the symbol of achievements of the Slavonic forebears in prehistoric times. It was called the 'Polish Pompeii' or 'Polish Herculaneum'. The existence of a prehistoric fortress, 70 km from the German border, was used to show that the prehistoric 'Poles' had held their own against foreign invaders and plunderers as early as the Iron Age. Biskupin came to feature in paintings and popular novels.
When the Germans occupied Poland in the autumn of 1939, Biskupin was renamed 'Urstädt'. In 1940, excavations were resumed by the SS-Ahnenerbe until 1942. When Germans were forced to retreat they flooded the site hoping to destroy it, but—ironically—it led to very good preservation of the ancient timbers. Excavations were resumed by Polish archaeologists after the war and continued until 1974.
There are two settlement periods at Biskupin, which was located in the middle of a lake but is now situated on a peninsula, that follow each other without hiatus. Both settlements were laid out on a rectangular grid with eleven streets that are three meters wide. The older settlement from early Iron Age was established on a slightly wet island of over 2 hectares and consisted of ca. 100 oak and pine log-houses that are of similar layout and measure ca. 8 x 10 m each. They consisted of two chambers and an open entrance-area.These houses were designed to accommodate 10–12 persons. An open hearth was located in the centre of the biggest room. There are no larger houses that could indicate social stratification. Because of the damp, boggy ground the streets were covered with wooden planks.
The settlement was surrounded by a tall wooden wall, or palisade, set on a rampart made up of both wood and earth. The rampart was constructed of oak trunks that form boxes filled with earth. The rampart is more than 450 m long and accompanied by a wooden breakwater in the lake. 6000–8000 m³ of wood have been used in the construction of the rampart.
In 1936 the first life-size model (open-air museum) was built on the peninsula, but it was intentionally destroyed by retreating Germans near the end of World War II. After the war it was rebuilt, and the ramparts and one full street with houses on both sides were also added.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.