Kallundborg Kirke

med tilhørende Taarne, der mere end noget andet giver Kir« ken Karakter, selvom disse Korsarme, som det allerede tidlis gere er fremhævet, plantypologisk set er Centralpartiet unders ordnede. Kan Centralpartiet siges at have haft Forbilleder ans detsteds, lader Motivet med Korsarmene os derimod saa tems melig i Stikken, om det end er muligt ogsaa her at knytte visse Forbindelser mellem den danske Kirke og andre Monumenter ude i Verden. Korset med de 4 Ugelange Arme gaar i Almindelighed under Benævnelsen det »græske« Kors. Men i Arkitekturen kan det med ligesaa god Grund kaldes det »latinske«; thi det har ogs saa i den latinske Verden haft en betydelig Udbredelse (Fig. 42), om det end ikke har faaet den Anvendelse som det saas kaldte »latinske« Kors med længere Fjerdearm. I den romers ske Kulturverden var Korset med de ligelange Arme — - som overhovedet Centralanlæget — nøje knyttet til Gravkulturen. Og Plantypen lever videre ind i Middelalderen. I Kejser Justinians Tidsalder er den i Østen nøje knyttet til Memorialkirker, først og fremmest den mægtige Apostels kirke i Konstantinopel — en Rival til selve Hagia Sofia — med Kuppel over Korsskæringen og Kuppel over hver af de 4 Korss arme. Den var en Fornyelse og en Forstørrelse af en tidligere af Konstantin opført, og til Gravkirke for ham selv bestemt Kirke, komponeret over samme Planmotiv. Dette var ligeledes anvendt i en anden Justiniansk Bygning, Evangelisten Johans nes Kirke i Efesus og Typen holdt sig indenfor den byzantins ske Kunstkreds endnu udover Justinians Tidsalder som særlig anvendt i Memorialkirker. Der er ingen Tvivl om, at de to store Justinianske Korskirker, der begge tilintetgjordes alles rede i Middelalderen, er bleven efterlignet i den i Ilte Aarh. ombyggede St. Marcus Kirke i Venedig j\ Men allerede Kons stantins Apostelkirke havde været Forbillede for den 382 af Ambrosius opførte Apostelkirke i Milano, senere, 396, inds viet til St. Nazarius. Den hellige Ambrosius interesserede sig overhovedet stærkt for Korssymbolet — en Interesse, der snart bredte sig ogsaa i Vestens Lande, og i Frankrig rejste sig i 5te Aarhundrede et Par Kirker, komponeret over det græske Kors. Den ene af dem var den i Aarene efter 496 af Merovins gerfyrsten Clodevig stiftede Gravkirke, indviet Apostlene 12. Fra Milano er øjensynlig ogsaa Galla Placidias Gravkapel i Ravenna inspireret. Men særlig yndet blev denne Plantype ikke i Vestens Lan« de efter Romerkulturens Sammenbrud. Længe holdt sig dog en Forestilling om, at den særlig hørte til i Gravkirker og helt op i 12te Aarh. kunde det hænde, at Gravkapeller havde Form af et græsk Kors som Kirken i Schwartz«Rheindorf ved Bonn, der blev anlagt ca. 1157 som Gravkapel for Ærkebiskop Ar« nold af Kølln. Naar ogsaa Esbern Snares Borgkirke fik Form af et græsk Kors, kunde det mulig skyldes, at han tillige har tænkt sig den som en Gravkirke. Han blev dog efter sin Død 1204 ikke bisat her, men i Sorø Klosters Kirke, hvor ogsaa hans Broder, den fremragende danske Statsmand, Ærkebiskop Absalon, 3 Aar i Forvejen havde fundet sit Hvilested. Den eneste endnu bevarede Kirke, der i sit Planprincip har nogen Lighed med Esbern Snares Kirke er St. Marco i Vene« dig 13. Men Sporene kan ogsaa pege i Retning af Milano og Lombardiet, hvor den hellige Ambrosius’s Bygningsværker This was a renewal and enlargement of a church built earlier by Constantine on the same plan and destined for a mauso« leum for himself. It had also been used in another of Justi« nian’s buildings, the church of St. John the Evangelist at Ephesus and the type remains within the circle of Byzantine art beyond the time of Justinian, as one especially adopted to memorial churches. There is no doubt but that the two great cruciform churches of Justinian which were both de« stroyed during the Middle Ages are imitated in the church of St. Mark’s at Venice, rebuilt during the llth Century 1:1. However Con« Fig. 41. St. Satiro i Milano. Plan. — St. Satiro at Milan. Plan. stantine’s church of the Apostle had already been the proto« type for the church of the Apostle at Milan, built by Am« brosius in 382, later, in 396, dedicated to St. Nazarius. The holy Ambrosius was much interested in the cross as symbol, —an interest which soon spread to the countries of the west, so that in the 5th century in France, we find two churches being built with the Greek cross as motive. One of them was the mausoleum, built by the Merovingian prince, Clodevig, and dedicated to the apostles ’2. From Milan, very evidently, cornes the inspiration for the mausoleum of Galla Placidia at Ravenna. After the decline of Roman civilisation this type of plan was not very populär in western lands. However the feeling that it was especially suitable for mortuary chapels long pre« vailed and far into the 12th century these were often given the form of a Greek cross like the church in Schwarz«Rheindorf, near Bonn, which was dedicated about 1157 as a mortuary chapel for Archbishop Arnold of Cologne. That the castle« church of Esbern Snare was given the form of a Greek cross might possibly be due to the faet that he had perhaps intended it as a mortuary chapel. Yet on his death in 1204, he was not buried here, but in the church of Soro Cloister, where his bro« ther, the eminent Danish statesman, Archbishop Absalon, who had died three years previously, had also been laid to rest. The only church still existing which, in any way, resembles the church of Esbern Snare in plan is St. Mark’s in Venice 13. However indications also point to Milan and Lombardy where the architectural accomplishments of the holy Ambrosius may have had imitators, even though these are no longer known. The type of plan, then, of Kallundborg Church has, in its main points, and especially in the central section, analogies elsewhere though they are from distant centuries. In its inner construction it was noticeable that the middle bay of the central section was covered by a common cross« vaulting of the same height as the cross«vaulting of the other parts, and not covered by a dorne. At this point the resem« blance to other churches fails and Kallundborg Church shows a form of vaulting of its own. However this is equally true of the external construction, determined as it is by the towers of the transepts and with 33