St. Cecilia's Church (Cäcilienkirche) is one of the twelve Romanesque churches in Cologne’s old city. The present building, little changed since its inception, dates from 1130-60.
The origin of the church building stems from the 9th century, during which a women’s home of the same name was founded at the site, during the reign of Archbishop Willibert in 870-888. It was built on the ruins of a prior Roman bath. From documentation of the home in 965, it is known that Bruno the Great, archbishop of Cologne, designated 50 pounds of silver for the completion of the church building. The original was renovated in the 12th century to suit a romanesque style, and distinguishes itself from the other Romanesque churches in Cologne through its relatively modest size and decoration.
Through resources originally designated for another church, the interior of St Cecilia's was renovated during the late 15th century. The main entrance was also changed in the 19th century, and given a new entry in the Neo-Romantic style. It remains on site, but is now walled up to suit the needs of the Schnütgen Museum.
For a time, the building was also adjacedent to the first hospital in Cologne, for which the church offered services as a chapel. The hospital is no longer present, as the Church now stands next to the Rautenstrauch-Joest Museum.
Though it is currently used mainly as museum of medieval art, the church celebrates two masses each year, one at Christmas and the other on the feast day of St. Cecilia.
Since 1956, the church has been the home of the Schnütgen Museum for medieval art.
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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.