Olavinlinna ("St. Olaf's Castle" or "Olofsborg") is one of the greatest medieval castles in Finland. It was built to secure the eastern border of the Kingdom of Sweden-Finland. The construction started in 1475 by Erik Axelsson Tott. Russians disturbed construction work sequently, because the castle was sited in Savonia to the Russian side of the border established by the Treaty of Nöteborg. Olavinlinna was completed probably in 1483 and there were first a main castle and three towers (Church Tower, Bell Tower and St. Erik's Towers).
Olavinlinna withstood several sieges by the Russians during the First and Second Russian-Swedish wars. Gustav Vasa ordered to erect fourth tower (a "Fat Tower") in 16th century and fifth ("Kilj Tower") was built in the 17th century. The castle was conquered first time by the invading Russians in Great Northern War on 28 July 1714. St. Erik's Tower was badly damaged in cannon fire and Russians demolished it. Olavinlinna was returned to Swedish in Treaty of Uusikaupunki, but they lost it constanly only 23 years later in the end of the Russo-Swedish War of 1741-1743.
Russians enhanced Olavinlinna fortifications and it withstood the siege of Swedish in the war of Gustav III in 1788. The Fat Tower was destroyed in an explosion of gunpowder supply in 1791. When Russians occupied Finland in 1809, Olavinlinna lost its defensive status. It was used as garrison, storage and prison and was abandoded in 1850s. Renovation was started in the end of the 19th century.
Currently, the castle hosts several small exhibitions, including the Castle Museum which displays artifacts found in the castle or related to it, and the Orthodox Museum which displays icons and other religious artifacts both from Finland and Russia. The castle forms a spectacular stage for the Savonlinna Opera Festival, held annually in the summer since 1912.
Olavinlinna is the initial model for Kropow Castle in the comic book King Ottokar's Sceptre, an album in the series of Adventures of Tintin created by Hergé.
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.