San Vincenzo church is located in the historic part of the town, in front of Tolomeo Gallio square, a few steps away from the lake. We can date the origin of the church back to 1150, a pastoral visit of Bishop Niguarda that took place in 1593, described the building as small and modest. The Romanesque church was rebuilt between 1758 and 1775 and consecrated by Bishop Mugiasca. The red and white facade in Baroque style was built in 1861 thanks to the efforts and donations of Monsignor Gianorini, resident in Cernobbio.
The interior of the church is structured with a single nave, has two side altars in marble. On the right altar there is a statue of Our Lady of Sorrows, the left one is dominated by a beautiful wooden statue depicting Santa Marta; the portal side niches house two statues of Saint Constantine and Saint Hippolytus. On the vault of the church, frescoed by the painters Lietti and Torildo Conconi, are depicted a Glory of Angels and the Four Evangelists, on the side walls there are frescoes of the life of St. Laurence and St. Vincent.
The gilded wooden altar is a copy of the valuable work destroyed in a fire in 1978, the organ (Bernasconi) is placed in the counter of the church, at the back of the nave we find the statues of St. Ambrose of St. Abbundius and dating to 1863.
Worth of note is the beautiful Processional Cross of 1500, a masterpiece of the goldsmith's art of Francesco Ser Gregorio. Since 1935 the church of St. Vincent ceased its role as a parish church in Cernobbio, in its place now there is the new church of the Most Holy Redeemer. In 2005, with a valuable work of restoration have been restored the bell tower, the vault and the facade.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.