Kallundborg Kirke

forstaas ikke i sin fulde Mang« foldighed uden en analyserende Undersøgelse af de Grundele« menter, hvorover den er kom« Church a special place in world architecture, so unusual is it to find this type of composition outside the domain of Byzan« Fig. 34. Ældste Del af Domkirken i Trier, Tyskland. Snit. — The oldest part of the Cathedral at Trier, Germany. Cut. poneret. Kirken er — saavel i Plan som i Opbygning — tydeligt formet over et Centralparti og fire fra dette udgaaende Korsarme. Centralpartiet er som en Byg« ning for sig. Det er her, man maa søge den oprindelige Tanke til Kirken som Helhed. Ejendommeligt for denne Del af Kirken er dens kvadratiske Form, delt efter Dobbeltaksen i tre Skibe paa en saadan Maade, at Centralpartiet danner et helt selvstændigt Centralanlæg, hvis store niidterste, kvadratiske Fag er det herskende og kun gi« ver Plads til smaa kvadratiske Fag i Hjørnerne og smalle rekt« angulære Fag ud for Midtfaget. Allerede denne Komposition giver Kallundborg Kirkes Hovedparti en særlig Stilling inden« for Verdensarkitekturen, overordentlig sjælden som den er udenfor det af byzantinsk Kunst beherskede Omraade. Men netop derfor er denne Kompositionsform ogsaa af væsentlig Betydning for Studiet af Kirkens Afstamning og derigennem af Oprindelsen til den højst originale arkitektoniske Tanke, der ligger til Grund for den hele Kirkebygning. Planmotivet lader sig føre tilbage til den hellenistisk«romer« ske Bygningskunst og selvom det nu kun lader sig paavise i faa bevarede og kendte Monumenter, er der næppe Tvivl om, at det i antik Tid har været langt mere udbredt. Derpaa tyder ogsaa, at de nu kendte Bygninger, der er bestemt af dette Mo« tiv, ligger i den hellenistisk«romerske Civilisations Yderkan« ter, Rhinegnene og Syrien. At Plantypen stammer fra Romer« rigets centrale Dele er derfor paa Forhaand sandsynligt og det er her af allerstørste Værdi, at en Tegning, der gengiver Planen af et Bygningsværk i selve Kul« turcentret Rom og skyldes Fra Giacondo, viser netop denne Plantype \ Med lige høje Skibe og fladt Loft forekommer den i den ældste fra Romertiden stam« mende Del af Domkirken i Trier fra 4. Aarh.2 (Fig. 34, 35), medens Prætoriet i Mousmieh i Syrien, opført i andet Aarh. e. Chr. hav« de Midtkvadraten dækket af en Kuppel og de underordnede Rumdele af Hvælvinger. Det er muligt, at hele dette Overdæk« ningssystem først stammer fra en senere Ombygning, der dog maa formodes at falde indenfor Fig. 35. Ældste Del af Domkirken i Trier. Plan. — The oldest part of the Cathedral at Trier. Plan. □□□□□ □□□□□ □□□□□ □□□□□ □□□□□ □□□□□ tine art. For this very reason this composition form is of pris mary importance in studying the origin of the church, and the very original architectonic thought underlying the entire church building. The plan«motive may be tra« ced back to Hellenic«Roman ar« chitecture, and even though now« adays it is to be found in but few of the existing monuments known, there is no doubt but that in ancient times it was very much more widespread. Further proof of this is furnished by the faet that buildings based on this motive are found on the outskirts of the territory of the Hellenic«Roman civilisation, — in the Rhine districts, and in Syria. That the type originated in the center of the Roman Empire seems probable at the outset. Note in this connection that a drawing showing the ground«plan of a building from the center of civilisation, Rome, and attributed to Fra Giacondo, shows the exact samt type1. The cathédral at Trêves from the 4th century 2 (Fig. 34, 35) has, in its oldest parts, dating from the time of the Romans, naves of the same height and a flat roof, while in the praetorium in Mousmieh in Syria, built in the 2nd century, the square in the center is covered by a dome, while the subordinate sections are vaulted. It is pos« sible that this entire system of covering dates from a later rebuilding, which, even so, may be supposed to have taken place in ancient times 3 (Fig. 32, 33). However this only shows that this plan was very early used in combination with the vaulted and domed construc« tions of the time of the Roman emperors, and in more complic« ated arrangements of rooms as shown in the drawings left by Fra Giacondo. For, in this build« ing, the type, — also in construc« tion, — must have been ex« pressed by a central part with a central dome towering above the lower sections, and it is in this form, plainly enough a heritage from antiquity, — that it ap« pears early in the Middle Ages, where it finds a rich growth in the Orient, especially in Asia Minor and Armenia, and attains the fullest flower of its develop« ment in Byzantium. In its purity, but developed with four axially«placed apses, □□□□□ □□□□□ □□□□□ □□□□□ □□□□□ □□□□□ 29