Tettnang Palace - usually referred to as Neues Schloss - is one of three castles in Tettnang. Originally a fort stood on the site of the current castle. From 1260 under 1780 it was the residence of the Counts of Montfort. The old fort was destroyed in the Thirty Years' War in 1633. Count Anton III of Montfort subsequently started rebuilding the castle in 1712, hiring the architect Christoph Gessinger, a Benedictine friar from Isny, to draught designs for a new castle. His aim was to tear down the remains of the mediaeval fort to make way for a completely new palace. In 1728 construction work came to a grinding halt when the funds of the Count ran dry. Count Anton died in 1733 and the castle remained unfinished.
A major section of the facade along with parts of the interior decoration were damaged by fire in 1753. Under the partronage of Count Franz Xaver, restoration work was subsequently completed in 1770. The fine sculptures and paintwork inside the castle were carried out by Joseph Anton Feuchtmayer, Käte Schaller-Härlin and Andreas Brugger. Jakob Emele was responsible for the rococo work.
When the county of Tettnang was sold to Austria in 1770 (to pay off debts), most of the interior fittings were sold and the castle passed into public ownership. When Tettnang was handed over to Bavaria as part of the Peace of Pressburg, the castle returned into German ownership.
Final restoration of the castle was carried out between 1960 and 1982. In 1997 the castle was opened to the public.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.