Kallundborg Kirke

kirkemurene i en Række tyske, ligeledes tidligromanske Kirs ker, særlig i Sachsen. Det er fortrinsvis i Syden, Søjlen er bles ven bibeholdt i senere romansk Tid, og den er i Italiens kirkes lige Bygningskunst aldrig helt bleven fortrængt af Pillen, selvom den i Norditalien og særlig i det lombardiske Oms raade, allerede tidligt i Middelalderen, er bleven benyttet vekslende med Piller. Det er netop dette Bæresystem, der i Nordeuropa udtrykkelig kaldes »det lombardiske Skema«. Men naar Kallundborg Kirke benytter hvælvingsbærende Søj= ler i sit Centralparti, har man sikkert Lov til heri at se en Tiis knytning til en italiensk Tradition, og der er i denne Sams menhæng atter Grund til at minde om en Bygning som San Satiro i Milano. I særlig Grad leder ogsaa Kallundborgkirkens Søjlekapitæler, der er af udpræget Trapezform, Tanken hen paa Norditalien. Højst mærkelige er de forsænkede Halvsøjler, der mars kerede Kirkens lithurgiske Hovedakse, idet de kun smykker Gjordbuepillerne ind mod vestre og østre Korsarm. Motivet er ejendommeligt for den Række større romanske danske Teglstenskirker, der udgør en saa væsentlig og saa vigtig Del af nordeuropæisk Teglstensarkitektur og som alles rede er omtalt tidligere. Men udenfor denne Kreds af dans ske Kirkebygninger kan det kun paavises i et Par belgiske Kirker: Tværskibet i Kathedralen i Tournai fra ca. 1200 ", hvor Motivet er anvendt paa en Maade, der ganske svarer til Anvendelsen i de danske Kirker, og i den indenfor belgisk Arkitektur særprægede Kirke, St. Severin i Condraz ved Liège fra ca. 1150, hvor det er benyttet over Arkadepillerne i Midts skibet i det Murfremspring, der var bestemt til at bære Hvæls vingerne her15. Den Mulighed, at Motivet er benyttet indens for norditalienskslombardisk Murstensarkitektur og derfra gaaet videre til Belgien, vinder i Sandsynlighed ud fra den Omstændighed, at den omtalte treskibede Kirke i Condraz har vekslende Piller og Søjler i Midtskibet. Men om en anden belgisk Kirke, Cistercienserkirken i Rolduc, der blev grunds lagt ca. 1200 og var komponeret med samme Bæresystem, siges det udtrykkeligt, — og netop med Hensyn til dette System — at den var planlagt »efter lombardisk Skema« — »Scemate lombardico«16. At Motivet med de forsænkede Halvsøjler ogs saa i Kallundborg Kirke kan skyldes lombardisk Tradition, synes da at have en ikke ringe Sandsynlighed for sig 17. Mange Spor peger da hen imod Italien, særlig det lombars diske Omraade, som Egne hvor de arkitektoniske Tanker, der ligger til Grund for Kallundborg Kirke, er at søge. Kirkens Centralparti har nu sit mest talende Forbillede i San Satiro i Milano. Ogsaa Motivet med de fire ligelange Korsarme pes ger mod St. Ambrosius Byggevirksomhed i samme By og selv Femtaarnmotivet kunde tænkes opstaaet ud fra den af ham opførte Apostelkirke. Mod Italien i Almindelighed pegede Ans vendelsen af Søjlen som bærende Hovedled, og endelig syntes de forsænkede Søjler at staa i Forbindelse med lombardisk Byggeskik. Ganske vist — nogen bestemt Bygning som Forbillede for den danske Kirke lader sig ikke paavise, og det maa tillige indrømmes, at de til dens Plan og Opbygning benyttede Mos tiver kun kendes fra Bygninger, der er blevne til Aarhundres veral German churches, especially in Saxony, but also of early Romanesque origin. It is especially in the south that the cos lumn was retained in the later Romanesque period, and in the ecclesiastical architecture of Italy it has never been entirely replaced by the pillar, even though early in the Middle Ages in northern Italy and especially Lombardy, it was used als ternately with pillars. This is the system of bearing which in northern Europe is known as the »Lombardy form«. In the vaultsbearing columns used in the central section in Kailunds borg Church we are right in seeing a connection with Italian tradition, and in recalling a building like San Satiro at Milan. The capitals of the columns in Kallundborg Church, trapezate in form as they are, also lead our thoughts to northern Italy. Very Strange indeed are the sunken halfscolumns which mark the liturgical main axis of the church, for they are only found decorating the corner pillars toward the east and west transepts. The motive is characteristic of a series of larger DanishsRos manesque brick churches which form so important a part of the brick architecture of northern Europe and to which res ference has already been made. Outside of this series of Das nish ecclesiastical buildings, it is only to be found in a few Belgian churches: in the transept of the cathedral at Tournai from about 1200 ", where the motive is used in a way which corresponds to its use in the Danish churches, and in the church of St. Severin at Condraz near Liège, from about 1150, — a church which occupies a special place in Belgian archis tecture, — it is placed above the pillars of the arcade in the central nave in the pilaster destined to bear the vaultings 15. The possibility that the motive arose in the northern Italians Lombardy brick architecture and passed from thence into Bels gium gains probability from the faet that the threesnaved church in Condraz referred to above, has alternating pillars and columns in its central nave. But of another Belgian church, the Cistercian church in Rolduc, founded about 1200 and con> structed with the same system of vaulting, it is expressly stated, —and the statemen applies to this very system,—that it was planned in the »Lombardy form«,—»scemate lombardico«16. That the motive of the sunken semicolumns in Kallundborg Church, is due to Lombardy tradition seems very probable 17. Many indications, then, point to Italy, especially Lombardy, as the place where the architectonic thoughts on which Kais lundborg Church rests, must be sought. The central section of the church has its most striking prototype in San Satiro in Milan. The motive of the four transepts of equal length sugs gests the architectural accomplishments of St. Ambrosius in the same city, and even the motive of the five towers might have originated in the Church of the Apostle built by him. In general we must turn to Italy to find the column used as the main motive, and the one of the sunken columns seems to be related to the Lombardy style of building. True it is, that no definite building can be shown as the pros totype of the Danish church, and it must furthermore be ads mitted, that the motives used in its plan and construction arc only known in buildings which were completed centuries bes fore the ground on which the church of Esbern Snare rests, 35