Geras Abbey, Geras, Austria - SpottingHistory.com

Geras Abbey is a Premonstratensian monastery founded in 1153 as a daughter house of Seelau Abbey by Ekbert and Ulrich of Pernegg. It was and settled by canons from Seelau. Geras Abbey was able to survive the reforms of the Emperor Joseph II and the consequent monastery closures of 1783, and remains in operation to this day.

The abbey church is a Romanesque basilica which was reworked in the Baroque style in the 18th century by the architect Josef Munggenast and the fresco painter Paul Troger. Today the abbey is often used as a venue for classical music recitals.

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User Reviews

gerald oppeck (2 years ago)
Sehenswertes Stift, außergewöhnliche Patres, meine Hochachtung

Werner Röder (3 years ago)
Sehenswerte Stiftsanlage; wir hatten eine sehr gut gemachte Führung

Harald Mitterhofer (3 years ago)
Kulturhistorisch absolut einen Besuch wert. Tolle und bedeutende Klosteranlage mit unschätzbarem EInfluss auf die Kultur des Umlandes. Mir persönlich fällt es schwer, dabei die in ferner und naher Vergangenheit begangenen Verbrechen, die untrennbar mit so einer Institution verbunden sind, zu vergessen.

Christian Ender (3 years ago)
Schöner Platz mit absolut sehenswerter Stiftskirche. Beim Abfischen der Karpfenteiche gewinnt man interessante Einblicke in die Teichwirtschaft.

Elisabeth Dietrich (3 years ago)
Es war sehr schön und interessant. die Führung des Stiftes war sehr gut gestaltet und sehr gut erklärt die Kirche ist sehenswert und sehr prunkvoll, ich kann jeden empfehlen eine Führung zu machen.

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Mosque–Cathedral of Córdoba

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.

Architecture

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.

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