Kallundborg Kirke

'S i 111 L^^aHiM pi«««•! .li«KIM INI 1«.«» man Bum tesaiw Wilts. >«» agi mHNM*l« fÄ^U e Fig. 20. Det Indre set mod Nord. — Intcrior looking toward the north. malingen var bevaret hist og her, har den faaet Lov at staa. Som Kontrast til de røde Mure har alle Buesmige i Vinduer og Døre saavelsom Hvælvingerne staaet hvidkalkede, og for at mildne Overgangen har der været malet en Tungebort i Vins duessmigenes Vederlag, som det endnu er bevaret et enkelt Sted, i det ene Vindue i Korets Nordside, hvor Tungerne i rødt og hvidt er forskelligt ordnede i hver Side (Fig. 14). Der er Spor af, at en tilsvarende Bort af skiftende røde og hvide Trekanter har været malet, eller paatænkt, foroven langs Ves derlaget for Korsarmenes Hvælvinger, idet et kort Stykke af en saadan Bort sporedes paa Vestvæggen i søndre Korsarm. Da denne Bort ikke er fundet andre Steder i Kirken, er det muligt, at det bevarede Spor kun skyldes et opgivet Forsøg; men Farven kan ogsaa tidligt være forsvundet ved senere Tis ders Kalkning af Væggene. Det skal her bemærkes, at det før omtalte Vindue i Korets Nordside endnu har bevaret Rester af sentromansk Halvfresko, forestillende bevingede Engle, og at svage Farvespor ved sidste Restaurering fandtes paa Korets Hvælving. Det synes saaledes som om kun Koret har været pudset og forsynet med Malerier, medens den øvrige Del af Kirken har staaet uden andre Dekorationer end de ovennævnt te Tungeborter. Da den røde Murbemaling og Vinduets Tuns gebort sidder velbevaret under de sentromanske Maleriers Puds, er det givet, at Bemalingen er fra romansk Tid, og da den røde Maling er indsuget i den friske Fugemørtel, maa den være samtidig med Kirkens Opførelse. Bemalingen findes ikke alene i selve Kirkerummet men ogsaa i de øvre Taarnrum, the time it was built until much later, when they were plasters ed over, has not been restored. However, here and there where the color remained, it has been allowed to stay. As a contrast to the red walls, all the bevels of the arches in the windows and doors, as well as all the vaultings, were plastered white, while to soften this effeet a scalloped border was paint« ed on the abutment of the bevel of the windows of which faint traces may be dimly seen at a single point, in the one window in the north side of the choir where the scallops in red and white are variously arranged on each side (Fig. 14). There are traces which indicate that a corresponding border of alternating red and white triangles was painted or pro« jected above, along the abutment of the arches of the trans« epts, for a small piece of such a border may be faintly seen on the west wall of the south transept. As no such border is found anywhere else in the church it is possible that the traces are from an abandoned experiment, still, under the successive plasterings of the walls the color might soon have vanished. Note, too, that the window in the north side of the choir, al« ready referred to, still retains traces of a late Romanesque half«fresco portraying winged angels, and that during the last restoration faint shades of color were observed on the vault« ings of the choir. It seems then, as if the choir only was pla« stered and decorated with paintings, while the remainder of the church had no other decoration than the scalloped border mentioned above. As the red color of the bricks and the scalloped border of the window are well«preserved beneath the plaster of the late Romanesque frescoes there is no doubt that the coloring is from the Romanesque period, and as the red paint has sunk into the fresh mortar of the joints it must be contemporary with the building of the church. Painted bricks are found not only in the body of the church but also in the upper tower rooms which are now plastered, and on the wall«surfaces of the towers toward the roof of the transepts. Of the interior of the church, the central section (the nave), is the most rich, with its four huge granite columns bearing the central tower, with brick semi«columns and grooves on each side of the arches toward the transepts, which, in con« trast to the nave, are very simple with no special architec« tonic decoration. The four granite columns (Pl. V and Fig. 19), which with base and capital are about 6.2 meters in height, rest upon heavy square granite bases shaped like inverted cu« bical capitals whose sides form almost semi«circular surfaces with the curve uppermost where the base ends in an astragal as transition to the shaft of the column. This is composed of two sections, of which the lower ends above in an astragal, forming a ring in the center of the column. The granite capital has trapezate, slightly concave sides; above the astragal at its base it is octagonal terminating on top in a square cover«plate. —It is a very bold undertaking to erect above these compara« tively slender shafts, built in two pieces, a high, heavy tower which seems never to have had any pillars to divide the strain with the outer walls 19. Of the present columns several parts are original, while the broken fragments, lying in the churchyard, or used for steps, have been renewed. The granite columns are mutually con« 18