Picture
imagewidth (px) 223
2.14k
| Year
int64 1k
2.02k
| Longitude
stringlengths 4
20
| Latitude
stringlengths 4
21
| Building
stringlengths 3
92
⌀ | Source
stringlengths 33
122
| Views
int64 -1
4.38M
| Country
stringclasses 152
values | Description
stringlengths 188
114k
⌀ |
|---|---|---|---|---|---|---|---|---|
1,001
|
43.572969°E
|
40.506206°N
|
Cathedral of Ani
|
https://en.wikipedia.org/wiki/Cathedral_of_Ani
| 15,505
|
Turkey
|
Abandoned 11th century cathedral Cathedral of Ani The cathedral in 2009 The cathedral displayed in a red circle within Ani [ 1 ] Religion Affiliation Armenian Apostolic Church Location Location Ani , Kars Province , Turkey Shown within Turkey Geographic coordinates 40°30′22″N 43°34′23″E / 40.506206°N 43.572969°E / 40.506206; 43.572969 Architecture Architect(s) Trdat Type Domed basilica Style Armenian Founder Smbat II of Armenia Groundbreaking 989 Completed 1001 or 1010 Specifications Length 34.3 m (113 ft) [ a ] Width 21.9 m (72 ft) [ a ] Height (max) originally: 38 m (125 ft) [ 2 ] 24 m (79 ft) to the base of the dome [ 3 ] UNESCO World Heritage Site Official name: Archaeological Site of Ani Type Cultural Criteria ii, iii, iv Designated 2016 (40th session ) Reference no. 1518 Region Western Asia The Cathedral of Ani ( Armenian : Անիի մայր տաճար , Anii mayr tačar ; Turkish : Ani Katedrali ) is the largest standing building in Ani , the capital city of medieval Bagratid Armenia , located in present-day eastern Turkey , on the border with modern Armenia . Its construction was completed in the early 11th century by the architect Trdat and it was the seat of the Catholicos , the head of the Armenian Apostolic Church , for nearly half a century. In 1064, following the Seljuk conquest of Ani, the cathedral was converted into a mosque . It later returned to being used as an Armenian church. It eventually suffered damage in a 1319 earthquake when its conical dome collapsed. Subsequently, Ani was gradually abandoned and the church fell into disrepair. The north-western corner of the church was heavily damaged by a 1988 earthquake . The cathedral is considered the largest and most impressive structure in Ani. It is a domed basilica with a rectangular plan, though the dome and most of its supporting drum are now missing. Its use of pointed arches and cluster piers has been widely cited by scholars to have possibly influenced, or at least preceded, Gothic architecture . The cathedral, along with the entire site of Ani, was declared a World Heritage Site by the UNESCO in 2016. Names [ edit ] In modern Armenian, the cathedral is usually referred to as Անիի մայր տաճար, Anii mayr tačar and in Turkish as Ani Katedrali , [ 4 ] both meaning "cathedral of Ani". Historically, however, it was known in Armenian as Անիի Կաթողիկե, Anii Kat'oghike . [ 5 ] [ 6 ] [ b ] The cathedral is also known as Holy Mother of God Church of Ani ( Armenian : Անիի Սուրբ Աստվածածնի եկեղեցի , Anii Surb Astvatsatsni yekeghetsi ; [ 9 ] [ 10 ] Turkish : Meryem Ana Katedral ) [ 11 ] and the Great/Grand Cathedral of Ani (Մեծ Կաթողիկե, Mets Kat'oghike ; [ 12 ] Büyük Katedral ). [ 16 ] History [ edit ] Foundation and early history [ edit ] Following more than two centuries of Arab rule , Armenia gained independence under the Bagratid (Bagratuni) dynasty around 885. King Ashot III made Ani capital in 961, after which the city emerged as a prosperous urban center with 100,000 residents at its height. [ 17 ] [ 18 ] [ 19 ] The construction of the cathedral began in 989. [ 20 ] The architect Trdat was commissioned by Bagratid King Smbat II to build a cathedral in the new capital of the Armenian kingdom . [ 21 ] [ 22 ] The construction was halted when Smbat died in 989, according to an inscription on the south wall. [ 23 ] [ 9 ] Meanwhile, Trdat was hired to direct the repairs of the dome of the Hagia Sophia in Constantinople , which had collapsed in an earthquake. [ 24 ] [ 20 ] Trdat returned from Constantinople in 993. [ 25 ] The construction was continued and completed by Queen Katranide [ 28 ] (Katramide), [ 31 ] the wife of King Gagik I , Smbat's brother and successor. [ 23 ] It was completed either in 1001 or 1010. [ 42 ] According to Christina Maranci the generally accepted date of completion is 1001, but it may have extended until 1010. [ 21 ] The contradiction is based on the reading of the inscription of the cathedral's northern wall. [ 43 ] [ 44 ] The cathedral served as the seat of the catholicos, [ 29 ] the head of the Armenian Apostolic Church from its foundation in 1001 [ 45 ] until the mid-11th century (1046 or 1051). [ 46 ] [ 47 ] Thus, for around half a century Ani was both the religious and secular (political) center of Armenia. [ 45 ] A silver cross originally stood on its conical dome and a crystal chandelier, bought by King Smbat II from India, hang in the cathedral. In the 1010s, during the reign of Catholicos Sarkis I , a mausoleum dedicated to the Hripsimean virgins was erected next to the cathedral. The mausoleum was built on some of the remnants of the virgins brought from Vagharshapat (Etchmiadzin). [ 29 ] In the 1040s–1050s inscriptions were left on the cathedral's eastern and western walls about urban projects, such as restoration of defensive walls , installation of water pipes and easing of the tax burden on the residents of Ani. [ 9 ] Charles Texier (1842) Reconstruction by Texier (1842) Cross section of the church per Toros Toramanian [ 48 ] Reconstruction by Toramanian [ c ] Reconstruction by Wilhelm Lübke (1881) [ 49 ] ground plan [ 50 ] [ 20 ] Later history [ edit ] See also: Conversion of non-Islamic places of worship into mosques Ani surrendered to the Byzantine Empire in 1045, who held it until 1064, when the city was captured by the Seljuks , led by Alp Arslan . [ 51 ] Alp Arslan and his soldiers performed their first prayer in Ani at the cathedral. [ 13 ] Consequently, the cathedral was converted into a mosque [ 9 ] [ 11 ] and called Fethiye Mosque [ 52 ] [ 53 ] ( Turkish : Fethiye Camii ). [ 55 ] [ d ] Official Turkish sources often refer to it by that name. [ 59 ] According to Matthew of Edessa , its silver cross was removed by the Seljuks and transferred to a mosque in Nakhchivan, where it was placed under the threshold, destined to be trodden upon. A crescent was placed on its dome according to Vardan Areveltsi . [ 60 ] In 1124 a crescent was placed on the cathedral's dome by the Shaddadid amir of Ani. In response, Ani's Armenians appealed to King David IV of Georgia to capture Ani , after which the cathedral returned to Christian usage. [ 9 ] [ 44 ] Vardan Areveltsi celebrated the brief reversal. [ 60 ] Only two years later, in 1126, Ani came under the control of the Shaddadids . [ 9 ] During the 12th century historians Mkhitar Anetsi , Samuel Anetsi and philosopher Hovhannes Sarkavag served at the cathedral in various capacities. [ 9 ] Mkhitar was an elder priest at the cathedral in the second half of the century. [ 61 ] In 1198 Ani was conquered by the Armenian Zakarids princes, under whose control the cathedral prospered. In 1213 the wealthy merchant Tigran Honents restored the cathedral's steps. [ 9 ] Damage caused by the 1988 earthquake . Decay [ edit ] Ani's long-term decline began in 1239 when Mongols sacked the city and massacred its population. [ 62 ] In 1319 a devastating earthquake struck Ani. It resulted in the collapse of the cathedral's conical roof. [ 9 ] [ 26 ] [ 44 ] Ani was completely deserted by the 18th century. [ 63 ] The drum reportedly collapsed during an 1832 [ 44 ] or 1840 [ 64 ] earthquake. Varazdat Harutyunyan insists that the entire dome had collapsed in 1319. [ 30 ] The north-western corner of the cathedral was heavily damaged by a 1988 earthquake with its epicenter in modern Armenia's north. [ 9 ] It resulted in a large gaping hole. According to VirtualAni it also caused "a serious rent in the south-west corner; by 1998 parts of the roof here had started to fall." [ 44 ] Lavrenti Barseghian wrote in 2003 that the damage from the earthquake was so great that the entire building would collapse unless strengthened and restored. [ 65 ] Explosions in a quarry on the Armenian side of the border, across the Akhurian River , reportedly caused some damage to the cathedral in the early 2000s. [ 66 ] [ 44 ] In mid-June 2001 an "ear-splitting explosion rocked the site just as a group of Armenian Americans had gathered to pray at the cathedral." [ 67 ] Samvel Karapetyan , who witnessed the explosions on the Armenian side during his visit to Ani in July 2000, stated that the explosions continued until 2004/2005. [ 68 ] However, Turkish accusations continued until 2008. [ 11 ] Vercihan Ziflioğlu wrote for Hürriyet that it was only in 2009 that Armenia halted blasting activities, reportedly, after Turkey's complaint at the International Council on Monuments and Sites (ICOMOS). [ 69 ] In the mid-2000s, Turkish guards had dug a large hole in their quest for treasure on the floor of the apse of the cathedral. Moreover, treasure hunters dug out the grave of what may have been that of Queen Katranide beside the west façade of the cathedral. It had been uncovered by French archaeologists in 2002–03. Additional gravestones with Armenian inscriptions nearby were upturned. [ 70 ] Preservation efforts [ edit ] View of Ani from Armenia. The cathedral is seen near the left edge, while the Church of the Redeemer on the right side. The cathedral undergoing restoration in 2018 Ani has been listed on the World Monuments Watch by World Monuments Fund (WMF) since 1996. [ 71 ] In May 2011 the WMF and the Turkish Ministry of Culture launched a conservation project focusing on the cathedral and the nearby Church of the Redeemer. [ 72 ] The project is funded by the Ambassadors Fund for Cultural Preservation of the U.S. State Department . [ 73 ] Before the project, a steel structure was installed around the cathedral, in order to prevent its cracked sandstone walls from collapsing. [ 71 ] The WMF and its Turkish partner, Anadolu Kültür, said they will work on "stabilization and protection" of the cathedral. [ 74 ] Turkey's Minister of Culture Ertuğrul Günay stated "We hope that giving new life to the remains of once-splendid buildings, such as the Ani Cathedral and church, will bring new economic opportunities to the region." [ 72 ] [ 75 ] Armenian officials responded with skepticism. [ 76 ] According to Gagik Gyurjyan, president of ICOMOS -Armenia, the Turkish Culture Ministry rejected the preliminary agreement between Anadolu Kültür and the Armenian side to engage Armenian experts in restoration works. Osman Kavala , president of Anadolu Kültür, stated that the lack of formal bilateral relations between Armenia and Turkey may have prevented Armenian experts from being included in the project. Kavala stated in a 2011 interview that an estimated $1 million would be spent on the project, which was scheduled to start in 2012 and end in 4 years. [ 77 ] Yavuz Özkaya, an architect who participated in the projects carried out in Ani, stated in March 2014 that studies on preservation and restoration of the cathedral were completed and they had begun to be implemented. These works included clearing the roofs, installing a temporary structure at the separation point between the western and southern walls, strengthening, proper completion of roof tiles and taking preventative measures. [ 78 ] The archaeological site of Ani was inscribed as a UNESCO World Heritage Site on July 15, 2016. [ 79 ] According to art historian Heghnar Zeitlian Watenpaugh the addition "would secure significant benefits in protection, research expertise, and funding." [ 80 ] In April 2018 Necmettin Alp, director of the Kars Museum , stated that restoration works on the cathedral would start later that month. [ 81 ] [ 82 ] In 2019 World Monuments Fund (WMF) and Anadolu Kültür began an "emergency temporary intervention" for the preservation of the cathedral. In 2021 WMF, with the support of the International alliance for the protection of heritage in conflict areas (ALIPH Foundation), began a second phase "focusing on the implementation of a long-term intervention plan for the restoration of the entire cathedral." [ 83 ] Architecture [ edit ] The interior of the cathedral. (For a sense of its scale, note the two people sitting on the bottom right of the image.) Overview [ edit ] The cathedral is a domed, centrally-planned basilica . [ e ] Varazdat Harutyunyan argues that in its plan and dimensions, it reproduces two 7th century domed basilicas— Cathedral of Mren and Saint Gayane Church . [ 30 ] The dome was supported on pendentives and stood atop the "intersection of four barrel vaults elevated to a cruciform design and topped with gabled roofs." In the interior, "freestanding piers divide the space into three aisles, the nave of which terminates in an eastern apse flanked by two story side chapels." [ 85 ] Sirarpie Der Nersessian noted that its interior is imposing "through the harmony of the proportions." She added, "The blind arcade with slender columns and ornate arches, the delicate interlaces carved around the door and windows add to the beauty of the exterior." [ 86 ] The cathedral is built, primarily, of yellow, but also black and red polished tuff . [ 87 ] It has three entrances. The main one is on the western side. The entrances on the northern and southern sides, though secondary, are richly decorated. Its windows are narrow and long, with ornamented frames. [ 87 ] Grigoris Balakian opined that its interior, built of large polished stones, "appears to be more impressive than the outside." [ 88 ] Dimensions [ edit ] The cathedral is 34.3 m (113 ft) long and 21.9 m (72 ft) wide. [ a ] Originally standing around 38 m (125 ft) high, [ 2 ] [ f ] it was Ani's tallest structure, [ 5 ] and its conical dome dominated the city's skyline. [ 89 ] It is very large by the standards of Armenian architecture. [ 10 ] Murad Hasratyan argues that its large size and rich ornaments symbolize the revived Armenian statehood under the Bagratids . [ 9 ] Christina Maranci suggested what she describes as an "extremely tentative" hypothesis that the relatively large proportion of the cathedral may have reflected architect Trdat 's memory of the "vast continuous spaces" of Hagia Sophia in Constantinople, the dome of which he had repaired. [ 90 ] Westerners have found it small. Karl Schnaase disparagingly described it as "hardly the size of a village church", [ 91 ] while H. F. B. Lynch argued that it is small if judged by European standards, but is "nevertheless a stately building." [ 92 ] Luigi Villari wrote in his 1906 book on travels in the Caucasus: "From a distance it seems to be merely a plain rectangular structure with no architectural pretensions. But on closer inspection it proves to be a building of really great beauty and of the most perfect proportions." [ 93 ] Scholarly assessment [ edit ] The cathedral is widely regarded as a masterpiece of Armenian architecture . [ g ] It is the largest and most impressive structure of Ani. [ 56 ] [ 95 ] Armen Kazaryan describes it as the most significant structure of the entire Bagratid period. [ 96 ] Recognized for its innovative design elements, [ 10 ] it has garnered high praise from several scholars. The authors of Global History of Architecture (2010) wrote that it "deserves to be listed among the principal monuments of the time because of its pointed arches and clustered columns and piers." [ 33 ] Similarly, Sirarpie Der Nersessian argued that it "deserves to be listed among the important examples of medieval architecture", [ 86 ] while David Roden Buxton suggested that it "is worthy ... of far greater renown that actually surrounds it." [ 97 ] H. F. B. Lynch described it as a "monument of the highest artistic merit, denoting a standard of culture which was far in advance of the contemporary standards in the West." [ 98 ] Josef Strzygowski argued that the cathedral is the most valuable achievement of Armenian architecture from the European viewpoint. [ 99 ] David Marshall Lang wrote that the cathedral's building techniques are "far ahead of the contemporary Anglo-Saxon and Norman architecture of western Europe." [ 100 ] Richard Phené Spiers wrote in the 11th century of Encyclopædia Britannica (1911): The most important example of the Armenian style is found in the cathedral at Ani, the capital of Armenia, dating from A.D. 1010. In this church pointed arches and coupled piers are found, with all the characteristics of a complete pointed-arch style, which, as Fergusson remarks, "might be found in Italy or Sicily in the 12th or 14th century." Externally the walls are decorated with lofty blind arcades similar to those in the cathedral at Pisa and other churches in the same town, which are probably fifty years later. The elaborate fret carving of the window dressings and hood moulds are probably borrowed from the tile decoration found in Persia. [ 41 ] Imitations in Armenian architecture [ edit ] Holy Saviour's Church in Gyumri , completed in 1873, is an imitation of the cathedral of Ani The main church of Marmashen monastery (dated 988–1029), believed to have been built by the same architect, Trdat , [ 101 ] is considered a miniature of Ani Cathedral. [ 102 ] Richard Krautheimer wrote that the exterior walls of both the church of Marmashen and the cathedral of Ani are "articulated by blind arcades resting on slender colonnettes, single or in pairs." [ 103 ] There are significant structural differences between the two. [ 104 ] Stepan Mnatsakanian noted that the similarities are limited to the exterior decorations because there are significant differences in their floor plans. [ 105 ] The ground plan of Holy Saviour's Church in Gyumri , completed in 1873, is based on that of Ani Cathedral. [ 106 ] However, the church is significantly larger than the cathedral and is not an exact replica of the latter. [ 107 ] The blind arcades on the three apses of the Armenian Cathedral of Lviv —added sometime before 1902—are a "surprisingly faithful reproduction of an analogous decoration" on the external walls of cathedral of Ani. [ 108 ] Association with Gothic architecture [ edit ] Some European scholars, especially scholars of the Near East , [ 109 ] have suggested that the use of pointed arches and clustered piers in the cathedral influenced the development of Gothic architecture . The theory was popularized by Josef Strzygowski , who was the first European to thoroughly study Armenian architecture and placed Armenia in the center of European architecture. [ 110 ] Strzygowski wrote in the Origin of Christian Church Art (1920): "It is a delight, in a church earlier than AD 1000, to see the builder, the court architect Trdat, carrying Armenian art so logically and so successfully past ' Romanesque ' to 'Gothic'." [ 111 ] [ 109 ] Several others had proposed this view before him, including H. F. B. Lynch (1901), William Lethaby (1912), and others. [ 112 ] Lynch suggested that the cathedral has "many of the characteristics of the Gothic style, of which it establishes the Oriental origin." [ 98 ] Lethaby found the cathedral "strangely western." [ 113 ] [ 109 ] In examining the possible influence of Caucasian architecture in the West, David Roden Buxton wrote on the cathedral of Ani in 1934: [ 97 ] ... inside it bears the semblance of a Gothic cathedral such as Western Europe might have seen two centuries later. Pairs of clustered columns support a high pointed vault, and on either side is an aisle with narrow pointed arches like those of the "Early English" style . It is assuredly a striking example of parallel evolution, even if all idea of a connection with the Gothic must be dismissed. Arthur Upham Pope suggested that the Ani Cathedral "antedate[s] any comparable construction in Europe" and argued that its interior is "so completely in the Gothic manner and mood that the relation between Ani and the French Gothic lacks but little of proof." [ 114 ] Cecil Stewart noted that the most interesting features of the cathedral are its "pointed arches and vaults and the clustering or coupling of the columns in the Gothic manner." [ 115 ] For David Talbot Rice the cathedral is "astonishingly Gothic in every detail." [ 36 ] David Marshall Lang argued that the appearance of pointed arches and clustered piers together is "considered one of the hallmarks of mature Gothic architecture." [ 100 ] Christina Maranci argues that the cathedral, with it "profiled piers and arches ... anticipate, in their linear elegance, the Gothic styles of buildings like Notre-Dame ." [ 116 ] Rouben Paul Adalian wrote, "the interior with its pointed arches and clustered piers rising to the ribbed ceiling vaults, included innovations whose parallels would appear in Gothic architecture in Western Europe a century later." [ 10 ] The theory has found support among Armenian architecture historians, such as Toros Toramanian , [ 26 ] Tiran Marutian , [ 117 ] Murad Hasratyan . [ h ] The hypothesized influence on the Gothic has also been noted by World Monuments Fund [ 74 ] and the Ambassadors Fund for Cultural Preservation . [ 73 ] James Stevens Curl noted that the influence of Armenian architecture on Western European buildings remains "unclear", but "certainly by the early 11th century domed basilicas, such as the Ani Cathedral, "began to acquire bundle-like piers, vaulting systems, and architectural features reminiscent of Western Romanesque and Gothic forms." [ 118 ] Criticism and response Art historian Sirarpie Der Nersessian rejected the postulated "proto-Gothic" character of the ogival arches of the cathedral of Ani which, she argued, "do not serve the same function in supporting the vault." [ 119 ] Although Adrian Stokes saw the cathedral as holding "some balance between wall architecture and the linear Gothic to come," he did not find "the feeling for mass and space that transfixes him at Rimini or Luciano Laurana's Quattro Cento courtyard in the Palace of Urbino." [ 109 ] The website Virtual Ani writes that there is "no evidence to indicate that there was a connection between Armenian architecture and the development of the Gothic style in Western Europe." [ 44 ] Lucy Der Manuelian argues that there is a documented evidence of the presence of Armenians in Western Europe during the Middle Ages, who could have carried this information to the West. [ 120 ] Symbolism and significance for Armenians [ edit ] In 1989 a series of events under the title "The Glory of Ani" commemorating the millennium of the Cathedral of Ani took place in the United States, sponsored by the Eastern Prelacy of the Armenian Apostolic Church of America. A symposium took place at the New-York Historical Society on October 21, 1989. [ 121 ] [ 122 ] In intendent Armenia, it has been depicted on a 2002 stamp and, in 2011, on an uncirculated silver commemorative coin issued by the Central Bank of Armenia dedicated to Ani. [ 123 ] In June 2011 the graduation ceremony of history students of the Yerevan State University (YSU) was held at the cathedral. [ 124 ] Since then graduation ceremonies of some departments of the YSU have taken place at the cathedral. [ 125 ] Folk dance director Gagik Ginosyan and his wife, along with their friends, staged a wedding ceremony at the cathedral. [ 125 ] In September 2011 researchers of the Shirak Armenology Research Center of the National Academy of Sciences of Armenia made a pilgrimage to the cathedral, where they performed scientific readings on the history of Ani. [ 126 ] The cathedral on a 2002 Armenian stamp A model of the cathedral at the Mekhitarist Monastery, Vienna Street art in Yerevan depicting the cathedral In Turkish politics [ edit ] Turkish President Abdullah Gül visited the cathedral on July 23, 2008 during his visit to Ani. [ 127 ] 2010 Muslim prayer [ edit ] On October 1, 2010 a Muslim prayer was performed at the cathedral by members and supporters of the far-right Nationalist Movement Party (MHP). The formal occasion was to commemorate the 1064 Seljuk conquest of Ani, but it was widely seen as a nationalist retaliation for the Christian mass—the first since the Armenian Genocide of 1915—at the Cathedral of Aghtamar at Lake Van on September 19. [ 128 ] [ 58 ] [ 129 ] Some two thousand people, including senior members of the MHP, such as party leader Devlet Bahçeli , participated in the prayer. [ 54 ] The crowd waved Turkish flags and chanted Allahu Akbar before saying prayers in and around the cathedral. They were accompanied by an Ottoman-style military marching band . [ 20 ] [ 59 ] The prayer was authorized by the Turkish Ministry of Culture , [ 58 ] and was attended by believers from Azerbaijan and broadcast live by three Azerbaijani TV channels. [ 130 ] The prayer was widely denounced for its political nature. An MP from the ruling AKP called it an illegal "political show" connected with the Aghtamar mass, [ 53 ] while art historian Heghnar Watenpaugh described the event as an example of "political stagecraft." [ 129 ] According to Aris Nalcı of the Turkish-Armenian daily Agos it was "addressed to Turks, rather than Armenians." [ 131 ] According to commentary prepared by the Yapı Kredi Bank Economic Research, "the scene looked awkward to a large majority of Turks." [ 132 ] Hürriyet Daily News columnist Yusuf Kanlı described it as an "attempt [by Bahçeli] to woo and win back the lost nationalist-conservative vote." [ 133 ] Turkish-Armenian journalist Markar Esayan wrote in Taraf that what Bahçeli did at Ani was "in fact exploitation of religion ." [ 134 ] The Armenian Apostolic Church accused the Turkish authorities in "destroying Armenian monuments and misappropriating historical Armenian holy sites and cultural treasures." [ 135 ] [ 136 ] [ 137 ] Architecture scholar Samvel Karapetyan commented sarcastically: "We now have reason to be happy. For centuries, our churches were desecrated and turned into toilets, whereas now they are only doing a namaz [ sic ]." [ 59 ] 2020 incident [ edit ] In February 2020 a video appeared online in which a woman sang meyhane music on the bema of the cathedral while Pervin Ersoy, the wife of Mehmet Ersoy , Turkey's Minister of Culture and Tourism, was shown standing in the crowd and clapping. [ 138 ] [ 139 ] [ 140 ] Gallery [ edit ] The cathedral with the Church of the Redeemer in the background Western façade Detail on the south façade Interior view Interior Historic and artistic depictions A stereoscopic photograph from the southwest, by Ohannes Kurkdjian , between 1875 and 1880 A photo of the cathedral published in a 1901 book by H. F. B. Lynch [ 141 ] A 1900 painting of the cathedral by Gevorg Bashinjaghian , National Gallery of Armenia [ 142 ] Watercolour by Arshak Fetvadjian , 1905 by Peshdimaldjian, published in 1912 [ 112 ] References [ edit ] Notes
|
|
1,004
|
12.10361°E
|
42.71944°N
|
San Giovenale, Orvieto
|
https://en.wikipedia.org/wiki/San_Giovenale,_Orvieto
| 970
|
Italy
|
Church in Orvieto, Umbria, Italy Chiesa di San Giovenale Chiesa di San Giovenale is a church in Orvieto , Umbria , Italy. Initially constructed in 1004, it contains frescos and artworks from the 12th and 13th centuries. [ 1 ] It belongs to the Roman Catholic Diocese of Orvieto-Todi . History [ edit ] The church was built in 1004, possibly on the site of an Etruscan temple dedicated to Jupiter . There was an early Christian church on the site, probably from the 6th century, also dedicated to San Giovenale . [ 2 ] It stood next to another religious building dedicated to San Savino , the only record of which is contained in a fresco by Ugolino di Prete Ilario now in Orvieto Cathedral . [ 3 ] Construction of the 11th-century church was patronized by several rich families in the area and was documented as a parish church in 1028. An inscription on the high altar (GUIDO ABAS MCLXX) indicates that by 1170 it belonged to the order of monks known as Ordine Guglielmino. Circa 1248, when the monks left, the structure returned to being a parish church. Refurbished and reconsecrated by Bishop Giuseppe Marsciano in 1739, it fell under the care of the church of Sant'Agostino until 1810 when it came under the Franciscans . After the Franciscan community was suppressed in 1860, the church was returned to the diocese. [ 2 ] Architecture [ edit ] Interior The church was initially constructed in the Romanesque style. A tall bell tower stands on the side of the bare facade. [ 4 ] The semi-circular apse was removed when, in the 14th century, extensions at the eastern end in the Gothic style terminated in a rectangular apse. There are still traces of the Romanesque porch and the blind arches of the period. [ 3 ] An inscription on the lateral door gives its date of construction as 1497. While the lower part of the building is original, the upper part was rebuilt in 1825. [ 2 ] Interior and furnishings [ edit ] The interior is rich in paintings from the 12th and 13th centuries including votive frescos by the Orvieto school which were recently recovered after being hidden by the Baroque remodeling of the interior in 1632. [ 2 ] The most notable work is the 15th-century Maestà known as the Madonna del Soccorso which was donated by the Ghezzi family in the 16th century. It was rediscovered behind a silver screen in the 20th century. In view of the gold ground and the blue mantle, it seems to be late Italo-Byzantine in style. The marble altar, a fine example of Byzantine sculpture, bears the date 1170. [ 3 ] It is flanked by late 13th-century marble lecterns bearing symbols of the Evangelists . [ 2 ] In the baptistry, there is a 14th-century fresco of the Ascension of Christ . The entrance is adorned with carved pavement slabs from the 9th century while the font is 15th century. [ 2 ] References [ edit ]
|
|
1,007
|
9.1386861°E
|
45.7414528°N
|
Basilica di San Vincenzo
|
https://en.wikipedia.org/wiki/Basilica_di_San_Vincenzo
| 1,058
|
Italy
|
The Basilica of San Vincenzo. The Basilica di San Vincenzo is a church in Galliano, a frazione of Cantù , in Lombardy , northern Italy . An example of local Romanesque architecture , it was founded in 1007. The complex includes also a baptistry, dedicated to St. John the Baptist . History [ edit ] Aribert of Milan offering the model of the church. Fresco in the apse. The church is located in Galliano, a small hamlet included within the comune of Cantù. The toponym derives from the ancient people of the Gallianates , whose name is mentioned in a Roman altar dedicated to Matronis Braecorium Gallianatium [ 1 ] Starting from the 2nd century, the worship of ancient gods such as Jupiter, Minerva and the Capitoline Triad was replaced by the Christian religion, in particular during the evangelization effort of Ambrose in the late 4th century. In the 5th century a Palaeo-Christian basilica, acting as the pieve of Cantù, existed in the site, perhaps with a baptistry. Of this structure, the black and white marble pavement remains in the current edifice's presbytery. The current church was begun in the 10th century. The basilica was re-consecrated by Aribert, archbishop of Milan , who at the time was likely the hereditary tenant of the edifice: this is testified by the presence of graffiti under the apse's frescoes, which mention the death of his father, brother and nephew. [ 1 ] The church was nearly ruined at the time of archbishop Charles Borromeo (1560–1584). Later it was abandoned and used as peasants' store and lost the small right aisle in a fire. Other sections went lost during the French occupation in the early 19th century, when they were considered of no artistic interest and sold to private collectors. The basilica was acquired by the comune of Cantù in 1909 and restored in 1933–1934. Plan of the basilica in its current state. Description [ edit ] The church has a simple and undecorated façade, in rough cobblestones. In the center is a portal with an architrave and an ogival lunette . The apse protrudes substantially from the main body. It features an archaic type of Lombard bands , with isolated arches characterized by pilasters that connect them to the ground. There are three windows which give light to the crypt : these are slightly different from those of the nave, due to the presence of a slight internal slope. The only remaining side apse is partly visible at the right. The crypt, and subsequently the presbytery, are more elevated than in other Romanesque buildings. The crypt has two halls with cross vaults , above which, originally, were two ambons : today only part of the left one remains, with a marble eagle which once supported the lectern. The church is known for the frescoes which cover the nave's walls and the apse. The latter are likely earlier than the former, as testified by the different style. [ 2 ] The apse frescoes show two bands of pictures with animals and vegetable motifs. They are surmounted by a praying Jesus within an almond frame. Jesus is wearing sandals, an uncommon feature of such depictions. He is flanked by two old men, the prophets Jeremiah and Ezekiel , behind whom are the two archangels Michael and Gabriel and two crowds. The lower walls of the apse show a short cycle of stories of St Vincent of Saragossa . The fourth panel features St Aribert offering a model of the church to God: the upper part of this scene is now at the Pinacoteca Ambrosiana of Milan . The Baptistry of St. John. Next to the church is the contemporary Baptistry of St John, which was built at the same time. Its plan is inspired by that of the 9th century Santa Maria presso San Satiro in Milan, although in a simplified form: a cruciform shape with a square hall limited by four isolated columns and four perpendicular arches, and four semicircular niches. The western niche opens to the interior, from which stairs lead to the matronei (tribunes in the upper floor), which are not present in San Satiro. The interior ends with a dome, externally covered by an octagonal drum with four windows and small arches. References [ edit ]
|
|
1,009
|
118.590944°E
|
24.902722°N
|
Qingjing Mosque
|
https://en.wikipedia.org/wiki/Qingjing_Mosque
| 4,341
|
China
|
Mosque in Quanzhou, Fujian, China Qingjing Mosque 清净寺 Religion Affiliation Islam Branch/tradition Sunni Location Location Quanzhou , Fujian , China Fujian Geographic coordinates 24°54′09.8″N 118°35′27.4″E / 24.902722°N 118.590944°E / 24.902722; 118.590944 Architecture Type mosque Style Arabic Completed 1009 Capacity 300 worshipers UNESCO World Heritage Site Location China Part of Quanzhou: Emporium of the World in Song-Yuan China Criteria Cultural: (iv) Reference 1561 Inscription 2021 (44th Session ) Qingjing Mosque Traditional Chinese 清淨 寺 Simplified Chinese 清净寺 Literal meaning Tranquil Mosque Transcriptions Standard Mandarin Hanyu Pinyin Qīngjìng Sì Southern Min Hokkien POJ Chheng-chēng-sī The Qingjing Mosque [ 1 ] ( Chinese : 清净寺 ; Arabic : مسجد الأصحاب , romanized : Masjid al-Aṣḥāb ), also known as the Ashab Mosque , is a mosque located in the city of Quanzhou , Fujian , China . It is found on Tumen Street . In 2021, the mosque was inscribed on the UNESCO World Heritage List along with other sites in and around Quanzhou because of its religious significance in the Song and Yuan dynasties, its importance to the medieval maritime trade of China, and its testimony to the global exchange of ideas and cultures during that time. [ 2 ] History [ edit ] Constructed in 1009, the Arab style mosque is the oldest of its kind in China. [ citation needed ] Architecture [ edit ] The old prayer area Its area is 2,500 square metres. [ 3 ] Many Song dynasty mosques were built in this Arabian style in coastal cities, due to communities of Arab merchants living in them. [ 4 ] the entrance of Quanzhou Qingjingsi Mosque ( Chinese : 泉州清净寺 ; pinyin : Quán Zhōu Qīng Jìng Sì ) is the only example of stone entrances in mainland China. [ 5 ] The inscriptions of the Quanzhou Qingjingsi mosque was dominated by the Arabic language. [ 5 ] See also [ edit ] Islam in China List of mosques in China References [ edit ]
|
|
1,010
|
21.5263°E
|
43.6239°N
|
Monastery of St. Roman
|
https://en.wikipedia.org/wiki/Monastery_of_St._Roman
| 1,681
|
Republic of Serbia
|
Monastery of the Serbian Orthodox Church Monastery of St. Roman Манастир Свети Роман Religion Affiliation Serbian Orthodox Church Ecclesiastical or organizational status Eparchy of Niš Location Location Praskovče , Serbia Architecture Completed 1010 Cultural Heritage of Serbia Official name: Manastir Sv. Roman Type Cultural monument of Great Importance Designated 31 May 1967 Reference no. SK 232 The Monastery of Saint Roman ( Serbian : Манасир Свети Pоман , romanized : Manastir Sveti Roman ) is a monastery of the Serbian Orthodox Church , Eparchy of Niš , in the village of Praskovče . According to some research, the monastery of Saint Roman is considered to be one of the oldest monasteries in the territory of Serbia, established in 1010. It represents an immovable cultural property as a cultural monument of great importance. [ 1 ] The monastery is located in Razanj municipality, on the right bank of the South Morava . Next to the monastery is the road that connects Razanj and Kruševac . The nearest larger settlement is the village of Praskovce . [ 2 ] History [ edit ] The monastery belongs to a small group of monasteries erected before the Nemanjić dynasty came into power. St. Roman came in 888 in this region. In the Chrysovul (endowment diploma) of Emperor Basil II in 1011, the monastery is mentioned for the first time. The second official mention is from 1498. The monastery is known for being the residence of a monk by the name of Roman Sinait (or Roman of Sinai), who was later declared a saint, so the monastery, in fact, carries his name. The tomb of Saint Roman Sinait with relics rests in the monastery to this day. He is revered by the people there as a miracle worker and healer. [ 3 ] The Sinai monks, followers of Thessaloniki miracle worker Gregory Palamas , accepted his teachings and came to Serbia during Prince Lazar 's reign. The present-day monastery church was erected by the warden of the Prince Lazar's Stud Farm on an old foundation. It was rebuilt by Đorđe Pile in 1795 in gratitude for having been healed. He accomplished the task only after securing a firman (restoration decree) from the Sultan for the payment of 300 golden ducats . [ 4 ] The painting is from 1795 and is preserved in the choirs and domes. It is believed that there are even older murals below the lime layer. A new painting was made in 1831. Also, there was the Hospital of Saint Roman Monastery during the time of wars. References [ edit ]
|
|
1,014
|
11.13608°E
|
51.72437°N
|
Saint Cyriakus, Gernrode
|
https://en.wikipedia.org/wiki/Saint_Cyriakus,_Gernrode
| 2,474
|
Germany
|
Church Saint Cyriakus Stiftskirche St. Cyriakus Saint Cyriakus Saint Cyriakus Show map of Saxony-Anhalt Saint Cyriakus Show map of Germany 51°43′28″N 11°08′10″E / 51.72437°N 11.13608°E / 51.72437; 11.13608 Denomination Lutheran Website stiftskirche-gernrode.de History Dedication Cyriacus Architecture Style Ottonian / Romanesque Groundbreaking c. 959/960 Completed 1014 Administration Province Evangelical Church in Central Germany Saint Cyriakus ( German : Stiftskirche St. Cyriakus , pronounced [ˈʃtɪftsˌkɪʁçə zaŋkt tsyˈʁi̯aːkʊs] ) is a medieval church in Gernrode , Saxony-Anhalt , Germany. It is one of the few surviving examples of Ottonian architecture , built in 959/960–965 by Margrave Gero , although it was restored in the 19th century. From its foundation until 1614, Saint Cyriakus was the collegiate church of the Abbey of Gernrode , also founded by Margrave Gero. The church and the abbey became Protestant in the mid-sixteenth century, and the church is now used by the Protestant community of Gernrode. The church is part of the tourist route " Romanesque Road ", as it is an important example of an Ottonian church which inspired later, fully Romanesque, churches and cathedrals. [ 1 ] : 92 History [ edit ] Gero (d. 965) was a follower of Otto I from one of the most powerful families of eastern Saxony. In 937, Otto made Gero Margrave of the Eastern March . Gero, who owned a castle at Gernrode, decided to found a collegiate church and female (lay) convent ( Stift ) here, in cooperation with his son Siegfried. Construction on the crypt, the eastern apse and the convent started in 959. In 961, the foundation was awarded royal protection. In 963, Pope John XII issued a privilege, which removed the convent from the influence of the Bishop of Halberstadt . Siegfried had died heirless in 959. After Siegfried's death, his widow Hathui had become abbess of the convent. Gero returned from a trip to Rome with a valuable relic of Saint Cyriacus and the church was dedicated to this saint in 963. In 965, Gero died and was buried in front of the already finished eastern choir. A hiatus in construction followed Gero's death and is seen as the likely source of the shift in the church's axis (see map). Hathui ruled the convent for 55 years until her death in 1014. [ 2 ] : 3 [ 1 ] : 92 Plan of the church showing the shift in axis between the eastern and western parts View of the interior In 999, Emperor Otto III granted the convent Imperial status and in 1004, Empress Kunigunde , wife of Emperor Heinrich II visited the convent. The first stage of construction ended in 1014. That same year, on Hathui's death, Adelheid , daughter of Emperor Otto II succeeded her as abbess. Adelheid held that position until 1044. [ 2 ] : 4 [ 1 ] : 92 Additions to the church in the 11th and 12th centuries include the west crypt (first mentioned in 1149), side galleries , the enlargement of the westwork (1127–1150) and the towers and the two-storey cloisters (1170). In 1188, Emperor Friedrich I Barbarossa held court at Gernrode and gifted the "Barbarossa Bell." [ 2 ] : 4 The vaults of the transept were added in the Gothic period. The last Catholic abbess was Scholastika von Anhalt Dessau (1469–1504). Her successor, Elisabeth von Weida (1504–1576) introduced Reformation in 1521. In 1525, Elisabeth managed to prevent damage to the convent during the German Peasants' War . With its introduction into the Landeskirche , the convent lost its independence and fell under the influence of the local princes . [ 2 ] : 5, 8 Abbess Anna von Plauen (1532–1549) founded the first school and supported the convent's role in providing medical care. From 1533, the collegiate church was shared with the parish. When Gernrode was awarded the status of town in 1539, the abbess donated a coat of arms. [ 2 ] : 8 The last Stiftsdame (and by default abbess), Sophie Elisabeth , left the abbey in 1614. In 1619, the abbey became a secular domain of the prince. Medieval works of art were removed, the buildings fell into disrepair and parts of the church were used for agriculture. [ 2 ] : 8, 10 In 1669, Friedrich von Harzgerode purchased the town and the church. Renovations were carried out in 1754–1756. In 1806, with the end of the Holy Roman Empire , the convent finally lost its Imperial status and immunity and was subsumed by the Duchy of Anhalt-Bernburg . Over the following decades, the convent fell into ruin, the inventory was auctioned off until the purchase, in 1832, by Amtmann Henneberg. He secularized the church and converted the convent into a farming estate. [ 2 ] : 10 In the late 1830s, interest in the church and convent resurfaced, with art historian Franz Theodor Kugler publishing a description in 1838 and Ludwig Puttrich [ de ] calling for its renovation in 1839. At the request of Duke Alexander Carl von Anhalt-Bernburg , architect Ferdinand von Quast [ arz ; de ; fr ; nl ; pl ; ru ; sv ] then restored the church in 1859–1873. [ 2 ] : 10–11 Further work followed in 1907–1910, when the two towers of the west works were first removed and then rebuilt with strengthened foundations. Between 1960 and 1984, communist East Germany had the court and convent buildings restored. In 1984–1987, the church interior was renovated. Post reunification , in 1992, the roof was sheathed in copper. More work was done in 2003–2004 on the western apse and the Holy Sepulchre. [ 2 ] : 11 Description [ edit ] The central body of the church has a nave and two aisles, surrounded by the eastern transept and the westwork, which is sided by two towers. These elements, typical of the Carolingian architecture , were paired by novelties anticipating the Romanesque style : as the alternation of pillars and columns (a hallmark of numerous later churches in Saxony ), the thick walls, the semi-blind arcades in galleries on the nave (similar to a triforium ). The capitals of the columns show a variety of elements, with stylized leaves of acanthus and, in one case, human heads. Tomb of Margrave Gero The tomb of Margrave Gero sits in the crossing before the steps to the choir. It is covered by a sandstone slab, carved into Gero's likeness, showing him in armor with sword and a flag. A lion is at his feet. [ 2 ] : 29–30 Relief on the western wall of the Holy Sepulchre with a figure of Mary Magdalene The southern aisle houses a copy of the grave of Christ (a representation of the Holy Sepulchre in Jerusalem ), most likely dating to the period 1080 to 1130. It is the oldest of its kind in Germany and also one of the most original, having little in common with the Holy Grave in Jerusalem. The entrance to the structure was moved from the usual east to the north side when the galleries were added in the 12th century. Parts of the outer decorations of the tomb were intentionally destroyed, but it is unclear whether this happened during the 12th-century reconstruction or in the final introduction of Reformation in 1616. The interior and exterior sculptures of the tomb are considered a masterwork of early Romanesque statuary art. [ 1 ] : 32–5 The baptismal font from around 1150 came from a demolished Romanesque church in Alsleben . [ 1 ] : 94 The painted ceilings were added during the 19th-century renovation which also lined most of the walls with cut stone panels - the original Ottonian walls featured rough quarry stone masonry. [ 1 ] : 94, 96 References [ edit ]
|
|
1,017
|
13.51028°E
|
43.62528°N
|
Ancona Cathedral
|
https://en.wikipedia.org/wiki/Ancona_Cathedral
| 4,619
|
Unknown
|
Cathedral dedicated to St. Cyriacus, seat of the Archdiocese of Ancona-Osimo Ancona Cathedral (Metropolitan Cathedral-Basilica of Saint Cyriacus) Basilica Cattedrale Metropolitana di San Ciriaco Religion Affiliation Roman Catholic Province Archdiocese of Ancona-Osimo Ecclesiastical or organizational status Cathedral Location Location Ancona , Italy Geographic coordinates 43°37′31″N 13°30′37″E / 43.62528°N 13.51028°E / 43.62528; 13.51028 Architecture Type Church Style Romanesque Groundbreaking 996 Completed 1017 Ancona Cathedral ( Italian : Duomo di Ancona , Basilica Cattedrale Metropolitana di San Ciriaco ) is a Roman Catholic cathedral in Ancona , central Italy , dedicated to Saint Cyriacus . It is the seat of the Archbishop of Ancona . The building is an example of mixed Romanesque -Byzantine and Gothic elements, and stands on the site of the former acropolis of the Greek city, the Guasco hill which overlooks Ancona and its gulf. Vittore Carpaccio represented the Ancona Catheral in his 1502 painting, St. George and the Dragon . [ 1 ] History [ edit ] Excavations carried on in 2016 proved that an Italic temple , perhaps dedicated to Aphrodite , existed on the site as early as the 3rd century BC. On top of it, in the 6th century AD, a Palaeo-Christian church was built: this had a nave and three aisles with the entrance facing south-east (where the current Chapel of the Crucifix is). Some remains of it still in existence include a mosaic pavement and perimeter walls. In 995–1015 a new church was built, which kept the original walls. In 1017 the renovated basilica received the relics of Saint Marcellinus of Ancona and Saint Cyriacus. Further enlargement works occurred between the late 12th and the early 13th centuries, with the addition of a transept to obtain a Greek cross plan, and an entrance towards the south-west, resulting in the church now facing the port and the new road entering the city. The transepts were at a higher level than the previous nave, and had apses. The church, previously dedicated to Saint Lawrence , was re-dedicated to Saint Cyriacus the Martyr, the patron saint and (possibly) bishop of Ancona. One of the red marble lions in the portal In 1883 the basilica underwent a very impressive restoration by Giuseppe Sacconi , future superintendent of the monuments of the Marches and Umbria from 1891 to 1902 and author of the project of the Vittoriano . He restored it to its original austere medieval appearance, eliminating the decorations and overlapping plasters, which over the centuries had altered the original appearance of the church. During World War I , on 24 May 1915, the basilica was damaged by a bombardment of the Austro-Hungarian fleet. The damage was restored in 1920, but in World War II Anglo-American aerial bombings destroyed the south transept and the Crypt of Tears under it, along with the art objects housed there. Once the transept was rebuilt, the church was officially reopened in 1951. Further damage was caused by an earthquake in 1972, followed by a new restoration and another official opening in 1977. In 1926 the cathedral was declared a minor basilica . Description [ edit ] Exterior [ edit ] The edifice is built in white stone from Mount Conero , with apses protruding from the transept's ends and an elevated body, with a dome at the crossing, in correspondence to the nave. All the external surfaces feature a decoration of Lombard bands . The bell tower is in an isolated position. It is mentioned from 1314 and was built above a pre-existing late 13th-century tower. Interior view The 1189 balustrade tiles The façade, divided into three section, is preceded by a wide staircase; above it is a 13th-century Romanesque portal formed by a round arch supported by four columns. The anterior ones stand on lions in Veronese red marble, while the rear ones, added later by Luigi Vanvitelli , are on a simple pedestal. Under the arches are four reliefs depicting the symbols of the Evangelists . The portal is attributed to Giorgio da Como (c. 1228), and is in Romanesque-Gothic style, built in Conero white stone from Mount Conero and Veronese red marble. It is decorated by a series of columns holding ogival arches with reliefs of saints' busts, animal figures and vegetable motifs. Above the portal is a large oculus with a Romanesque frame between two single mullioned windows . The dome is one of the most ancient in Italy. It has an ogival shape with a dodecagonal drum, standing on a square base with small decorative arches. It was built over the crossing in the 13th century, and is attributed to Margaritone d'Arezzo (1270). Together with the church of Sant'Antonio at Padua and St. Mark's Basilica in Venice , it was one of the few contemporary examples of domes built in churches, instead than in separate baptisteries. The copper cover was added in the 16th century. Interior [ edit ] The interior is on the Greek cross plan. All the arms are divided into a nave and two aisles, with re-used antique Roman columns with Byzantine capitals. At the crossing is the internal part of the dome, which has pendentives with Byzantine-style figures of praying angels. The dome is supported by cruciform cluster piers. The side arms of the transept end in elevated apses, while the central arm of the presbytery lost the original apse during the enlargement works of the 18th century. All the naves have hull-shaped, painted wooden vaults dating from the 15th century. At the beginning of the northern nave is the monument to a Fermo warrior from 1530. The south transept is home to the Chapel of the Crucifix. Its screens ( transennae ) are formed by tiles with sgraffito decoration from a balustrade of 1189. They depict, on the left, Jeremiah and Habakkuk ; the Eternal Father and the Blessed Virgin; an angel and Saint John the Evangelist ; and Saint Cyriacus; and, on the right, figures of animals: two cranes on a pomegranate tree, an eagle, two peacocks on a tree and two gryphons. In the Crypt of Tears below, rebuilt after the devastation of World War II, are remains of ancient structures. The presbytery's arms house, in the northern aisles, the sepulchre of Blessed Girolamo Ginelli (d. 1506), made in 1509 by Giovanni Dalmata . The northern transept houses the Madonna Chapel, with a lavishly decorated niche designed by Luigi Vanvitelli in 1739, which is the site of a venerated 17th century image of the Madonna. Under the chapel is a crypt with the remains of Saint Cyriacus (in a marble case), Saints Liberius and Marcellinus (in Sicilian jasper) and the ashes of Saint Palatia . The urns with bronze festoons were designed and executed between 1757 and 1760 by Gioacchino Varlè . Photos [ edit ] Main entrance Main entrance Lion to the left of the entrance The same Both lions at the entrance Side entrance Campanile Portico from the south East end The Nappi stairs Museum entrance Museum courtyard The miraculous painting of the Madonna also known as Regina Sanctorum Omnium See also [ edit ] Roman Catholic Archdiocese of Ancona-Osimo Wikimedia Commons has media related to San Ciriaco (Ancona) . Sources [ edit ] Polichetti, M. Luisa (2003). San Ciriaco. La Cattedrale di Ancona. Genesi e sviluppo . Federico Motta. ISBN 88-7179-353-6 . External links [ edit ] Page at Medioevo.org art website (in Italian) Authority control databases International VIAF National Germany United States Geographic Structurae ^ Humfrey, Peter (2022). Vittore Carpaccio: Master Storyteller of Renaissance Venice . National Gallery of Art, Fondazione Musei civici di Venezia. New Haven. ISBN 978-0-300-25447-1 . OCLC 1244273776 . {{ cite book }} : CS1 maint: location missing publisher ( link )
|
|
1,018
|
0.33944°E
|
51.22333°N
|
St Mary's Church, Hadlow
|
https://en.wikipedia.org/wiki/St_Mary%27s_Church,_Hadlow
| 18
|
United Kingdom
|
Church in Kent, England St Mary's, Hadlow St Mary's, Hadlow St Mary's, Hadlow St Mary's, Hadlow 51°13′24″N 0°20′22″E / 51.22333°N 0.33944°E / 51.22333; 0.33944 OS grid reference TQ 6343 4971 Location Hadlow , Kent Country England Denomination Church of England Churchmanship Liberal Catholic Website www.stmaryshadlow.org.uk History Status Church Founded 975 Dedication St Mary Architecture Functional status Active Heritage designation Grade II* listed Designated 20 October 1954 Architectural type Church Style Early English Decorated Specifications Number of spires 1 Administration Province Canterbury Diocese Rochester Archdeaconry Tonbridge Deanery Paddock Wood Parish Hadlow Clergy Vicar(s) The Revd Paul White SMMS LLM MA [ 1 ] Laity Churchwarden(s) Michael Payne, John Speed [ 1 ] Parish administrator Janice Massy [ 1 ] St Mary ' s Church is the parish church in Hadlow , Kent , United Kingdom . The church is a Grade II* listed building. History [ edit ] The first record of a church in Hadlow was in 975. [ 2 ] This church would probably have been a wooden building. In 1018, the early church was replaced by a building of stone. In the 12th century, the church was rebuilt and extended by Richard de Clare , then lord of the Manor of Hadlow. De Clare granted the church to the Knights Hospitallers in 1166. The Knights Hospitallers later had a preceptory at nearby West Peckham , which was their local administrative base. From the Norman Conquest until the 18th century, Hadlow did not have a resident Lord of the Manor, being held under Tonbridge Castle . [ 3 ] It is thought that the tower was raised and the spire added in the 15th century. [ 4 ] Little money was spent on the maintenance of the church, although some 15th- and 16th-century bequests are recorded. Thomas Walter, Yeoman bequeathed 20s in 1448 "To make a window on the north side of the church by the altar of Our Lady". John Tatlyngbery bequeathed 10 marks "For repair of the great door of the church". In 1456, Richard Bealde bequeathed 13s 4d "For repair of the tower of Hadlow church". [ 5 ] In 1461, Dionysia Ippenbury left 3d for masses to be said each year for 12 years. [ 6 ] In 1465, William Palle, yeoman left a cow to the church. It was to be sold and "the profits therefrom to be devoted to the maintenance of a lamp in the chancel." [ 5 ] In 1509, Thomas Fisher, yeoman bequeathed £20 "for making a new rood loft". The rood screen may not have been in existence long, although it was mentioned in bequests dated 1510 and 1513. [ 7 ] The church remained under the ownership of the Knights Hospitallers until 1540, when the order was dissolved by Henry VIII . [ 3 ] In 1533, Henry Fane left two chalices valued at £4. [ 6 ] The west door is inscribed "WB 1637 ES". The tower and steeple were repaired in that year. The churchwardens were Walter Barton and Essau Simmons. [ 7 ] In 1791, the clock was installed in the tower. It was made by John Thwaites of Clerkenwell . [ 8 ] At the beginning of the 19th century, the church was in disrepair. In 1847, the chancel was rebuilt and the vestry added. In 1853, the south porch was blocked up. The north aisle was added in this year at a cost of £470 , which was raised by public subscription. A private gallery was erected by Walter Barton May, owner of Hadlow Castle . This had its own private access and was located at the west end of the nave. In 1885, an altar reredos was erected to the memory of Sir William Yardley and his wife Amelia. Yardley was a former judge in the High Court of Bombay , India . In 1936, the gallery was removed. [ 5 ] Work on the doorway at the west of the church in 1936 exposed some small crosses carved in the stonework. These are attributed to Nicholas de Hadloe and his son, who lived at Hadlow Place. They were carved to commemorate their safe return from the Third Crusade in 1189. [ 4 ] St Mary's was listed on 20 October 1954. It is currently Grade II* listed. [ 9 ] Construction [ edit ] St Mary's is mostly constructed from ragstone , with some ashlar detail and quoins of Tunbridge Wells sandstone . The church is built in the Early English and Decorated style. The chancel roof is of slate , while the nave and aisle roofs are tiled . The spire is covered in shingles . The stained glass windows date from the 19th and 20th centuries, [ 9 ] the most recent of which is "The Visitation" created by Francis Skeat in 1956. [ 10 ] The Coverdale Chair [ edit ] In 1919, the Coverdale Chair was presented to St Mary's by T E Foster MacGeagh of Hadlow Castle. The chair is so-named because it was owned by Miles Coverdale , Bishop of Exeter , who made the first translation of the Bible into English. In 1954, the chair was transferred to Rochester Cathedral , but it was returned to St Mary's in 1967. [ 11 ] Bells [ edit ] St Mary's has a ring of eight bells , hung for change ringing . The treble and 2nd were inscribed "Pack & Chapman of London Fecit 1775". [ 7 ] They were recast in 1994 by the Whitechapel Bell Foundry , London . At this time, the third was welded and the frame renewed. [ 12 ] The third is inscribed "Iames Bartlett Me Fecit 1696". [ 7 ] The fourth, fifth, sixth and seventh are inscribed "Iames Bartlett Me Fecit 1695", [ 12 ] and the tenor is inscribed "Henry Barton Edmond Norman Ch Wardens Andrew Reany Vicar 1695 Iames Bartlett Me Fecit". [ 7 ] Organ [ edit ] The organ at the church was presented as a gift by Ernest Hargreaves (who married the then vicar's daughter) and was built by Alfred Monk of Camden in 1880. It has a brass plate that includes a quotation from verse 6 of Psalm 150 : [ 13 ] Presented to St Mary's Church, Hadlow THROUGH THE REV D PHILLIP HOWARD MONEYPENNY, Vicar of the Parish, BY ERNEST HARGREAVES ESQ R August 1880. Let everything that has breath praise the Lord. [ 14 ] It has 35 speaking stops on three manuals and pedal including principal stops, reed stops, flute stops, string stops and a 32 ft contrabass stop. The organ underwent major restoration in 1975 that was carried out by Hill, Norman and Beard . Prior to the restoration, it was suggested that the instrument should be replaced by an electric or electronic organ; this advice was not followed. The Victorian background of the organ is clearly displayed by the (later added) chamber surrounding it. The instrument is one of the largest village church organs in the south-east. Organ specification [ edit ] Great Swell Choir Pedal Clarion 4 Vox humana 8 Clarionet 8 Violoncello 8 Cornopean 8 Clarion 4 Piccolo 2 Quint 10⅔ Sesquialtra (17.19.22) Oboe 8 Wald flute 4 Bourdon 16 Fifteenth 2 Trombone 8 Gemshorn 4 Open diapason 16 Twelfth 3 Mixture (15.19.22) Viol d'amour 8 Contra bass 32 Principal 4 Fifteenth 2 Lieblich gedact 8 Harmonic flute 4 Principal 4 Keraulophon 8 Gamba 8 Voix celeste 8 Clarabella 8 Dulciana 8 Open diapason 8 Gedact 8 Double open diapason 16 Open diapason 8 Bourdon 16 Tremulant Swell to Great Choir to Great Choir to Pedals Great to Pedals Swell to Pedals 3 composition pedals each to Great and Swell; balanced swell pedal. [ 14 ] [ 13 ] Memorials [ edit ] Interior, c. 1920 Many memorials in St Mary's were destroyed in the rebuilding of the church between 1847 and 1853. A brass commemorating John Stoke, vicar (d. 1370) was in existence in 1900, but has since disappeared. Other memorials were to Sir Ralph Colcoff, vicar (d. 1514) and Dame Elizabeth Gossand, wife of Henry Fane. [ 15 ] Surviving memorials are to Thomas Barton of Goldhill (d. 1662) and Thomas May (d. 1714), both ancestors of the builders of Hadlow Castle . Several tablets in St Mary's are to various members of the Moneypenny family. Four generations of this family served as vicars between 1797 and 1952. There is a memorial to Sir John Rivers , former Lord Mayor and Sheriff of London , who was a lay rector at St Mary's, [ 15 ] and his wife Joan. Rivers died in 1584, his wife in 1618. [ 16 ] In the churchyard, there is a memorial in the shape of an oast house to 30 hop-pickers who were killed in the Hartlake disaster , an accident that occurred while a wagon, taking around 40 hop-pickers and their families back to their camp site, was crossing the flood-swollen River Medway at the poorly maintained Hartlake Bridge on 20 October 1853. [ 17 ] The monument is a Grade II listed building. [ 18 ] See also [ edit ] List of places of worship in Tonbridge and Malling References [ edit ]
|
|
1,020
|
9.94722°E
|
52.14889°N
|
Hildesheim Cathedral
|
https://en.wikipedia.org/wiki/Hildesheim_Cathedral
| 12,360
|
Germany
|
Church in Hildesheim, Germany Hildesheim Cathedral The Cathedral of the Assumption of Mary Hildesheimer Dom Northwest view of Hildesheim Cathedral 52°08′56″N 9°56′50″E / 52.14889°N 9.94722°E / 52.14889; 9.94722 Location Hildesheim Country Germany Denomination Roman Catholic Website www .dom-hildesheim .de History Status Active Dedication Assumption of Mary Architecture Functional status Cathedral Architectural type basilica Style Romanesque (original) Gothic (side chapels and northern paradise) Baroque (crossing tower) Groundbreaking 815 (Chapel of St. Mary) ( 815 (Chapel of St. Mary) ) 872 (St. Mary's Cathedral) ( 872 (St. Mary's Cathedral) ) Specifications Length 80 m (262 ft 6 in) Width 44 m (144 ft 4 in) Height 20 m (65 ft 7 in) Number of spires 1 Spire height 41 m (134 ft 6 in) Bells 12 Tenor bell weight 8686kg Administration Diocese Diocese of Hildesheim UNESCO World Heritage Site UNESCO World Heritage Site Official name St Mary's Cathedral Part of St Mary's Cathedral and St Michael's Church at Hildesheim Criteria Cultural: (i), (ii), (iii) Reference 187bis-001 Inscription 1985 (9th Session ) Extensions 2008 Area 0.58 ha (1.4 acres) Buffer zone 157.68 ha (389.6 acres) Hildesheim Cathedral (German: Hildesheimer Dom ), officially the Cathedral of the Assumption of Mary (German: Hohe Domkirche St. Mariä Himmelfahrt ) or simply St. Mary's Cathedral (German: Mariendom ), is a medieval Roman Catholic cathedral in the city centre of Hildesheim in Lower Saxony, Germany, that serves as the seat of the Diocese of Hildesheim . The cathedral has been on the UNESCO World Cultural Heritage list since 1985, together with the nearby St. Michael's Church because of its unique art and outstanding Romanesque architecture. [ 1 ] The cathedral church was built between 1010 and 1020 in the Romanesque style. It follows a symmetrical plan with two apses, that is characteristic of Ottonian Romanesque architecture in Old Saxony . The cathedral's treasures include world-famous artworks, bronze works from the time of Bishop Bernward , Bernward Doors and Bernward Column , as well as two of the four notable Romanesque wheel chandeliers : the Hezilo chandelier and the Azelin chandelier . After renovations and extensions in the 11th, 12th and 14th centuries, the cathedral was completely destroyed during an air raid on 22 March 1945 and rebuilt from 1950 to 1960. A thorough renovation of the cathedral began in 2010, including technical and conservation measures. Some of the cathedral's treasures have been shown further afield, including at an exhibition at New York's Metropolitan Museum of Art . The cathedral was reopened on 15 August 2014. History [ edit ] Construction [ edit ] Groundplan Aerial view from the tower of St. Andreas Interior After the establishment of the Diocese of Hildesheim in 815 by Louis the Pious , [ 2 ] a Chapel of St. Mary was built on the locations of the modern apse. [ 3 ] Bishop Gunthar of Hildesheim , who was in office from 815 to 834, [ 3 ] had a small basilica with two round towers built immediately to the south of the chapel, which he dedicated to Saint Cecilia . This served as the original cathedral and Stift church. [ 2 ] The first four bishops were buried there. Only traces of the foundations of these two buildings remain. An older Hildesheim parish church probably once stood on the site of the Chapel of Saint Stephen next to the gatehouse at the eastern entrance to the chapel of St. Hellweg, which might date back to Hildegrim of Châlons and his expedition to East Saxony. [ 4 ] The cathedral was built in 872 under Bishop Altfrid as a cruciform three-aisled basilica with a two-story westwork . [ 2 ] It is an example of Ottonian architecture , with alternating column support and semi circular apses completing the naves. [ 5 ] The building suffered severe fire damage in 1046. [ 3 ] Bishop Azelin planned to erect a new, larger building further to the west and to extend the nave. His successor, Hezilo of Hildesheim , abandoned this plan and instead built on the old foundations, incorporating the surviving walls into the new building. Further important renovations occurred up to the end of the fourteenth century but did not deviate from the ground plan of Bishop Altfrid's basilica. The northern paradise and the north and south side chapels date from the gothic period and the tower above the crossing from the baroque period . In the nineteenth century, the original westwork was replaced by a Neo-Romanesque two-tower facade, which stood until 1945. [ 2 ] School and library [ edit ] Hildesheim Cathedral School [ de ] ( Hildesheimer Domschule ), which had rooms in the cloisters, was one of the most significant educational institutions of the Ottonian and Salian periods. Its library has served as the cathedral's library ( German : Dombibliothek Hildesheim ) since 815; it is the oldest library in Northern Germany. [ 6 ] Foundation of the first cathedral under the crypt dating from 815 Crossing and northern side chapels Cloister, built from 1060 to 1070 Cloister with St. Anne's Chapel, c. 1845 Westwork before 1840 Neo-Romanesque westwork, 1890 Anne's chapel Hezilo chandelier in the crossing, 2009 Destruction in the Second World War [ edit ] During the aerial bombardment of Hildesheim by the RAF and RCAF in World War II , the main building was almost entirely destroyed; only the westwork and the outer walls survived. [ 2 ] Of the ancillary buildings, only the Gothic Anne's chapel ( Annenkapelle ), erected in 1321 in the middle of the cathedral's courtyard, [ 2 ] was mostly undamaged. It was the only cathedral in Germany that had to be newly consecrated after its reconstruction, on 27 March 1960 by Bishop Heinrich Maria Janssen. [ 2 ] Westwork The building was rebuilt between 1950 and 1960 in a simplified form. The baroque elements were abandoned in favour of a form which took its cue from the early Romanesque style. [ 3 ] The most visible aspect of this on the exterior was that upper stories, and side towers added to the westwork in 1840, were not restored. The westwork was reconstructed closer to its earlier state [ 7 ] based on the model of the westwork of Minden Cathedral , which had also been severely damaged by wartime bombing. [ 8 ] In addition, the gatehouse in front of the westwork was reduced by about half. Otherwise, the exterior appeared as it had done before the destruction – in particular, the baroque crossing-tower was rebuilt. [ 8 ] The reconstruction was carried out under tight constraints. Because of the lack of sandstone tiles, the floor was relaid in marble . The roofs of the nave, transept, and cloisters were cast in concrete and covered with wooden boards on the inside to recall the appearance of ceiling beams. The interior walls, as well as the walls of the nave, were rebuilt in brick and limestone , hidden from view by a dimension stone coating on the outside and by a coat of smooth plaster on the inside. The ground level was raised by 60 cm, which resulted in the rooms having a squat appearance, especially in the transepts. The columns of the nave were cast in concrete, and the pilasters were coated in sandstone. [ 8 ] The reconsecration took until 1960 to complete because of various problems, chiefly the "Hildesheim Cathedral construction dispute" ( Hildesheimer Dombaustreit ), an argument between the Diocese of Hildesheim and the Land of Lower Saxony about the cost of the reconstruction and particularly about whether Lower Saxony was one of the legal successors of the Free State of Prussia which had undertaken to cover the cathedral's building expenses in 1803 (when it was still the Kingdom of Prussia ) during the process of German mediatization . The parties reached a settlement in 1957. [ 8 ] Renovations 2010–2014 [ edit ] The Inkpot Madonna After many years of planning, a thorough renovation of the cathedral began in January 2010, the first since 1960. Along with technical and conservation measures, there were alterations to the design. The floor was lowered to the original level, the Hezilo and Azelin chandeliers were restored to their places in the nave and the high choir, and Bernward Doors were again mounted facing outwards, behind an antechamber, as originally intended. In addition, a bishop's crypt was created. [ 9 ] On 10 January 2010, the cathedral was closed for the work to begin. During the reconstruction, the basilica of St. Godehard served as the bishop's church ( cathedra ), as it had in the postwar years . The cathedral renovation was the largest church construction project in Germany. The solemn reopening of the cathedral was on 15 August 2014, coinciding with the beginning of the Diocese's 1200 year jubilee. [ 9 ] Thousand-year Rose [ edit ] Main article: Thousand-year Rose The rosebush with a legend dating back to 815 The cathedral building is widely known for the " Thousand-year Rose " ( Tausendjähriger Rosenstock ) which grows outside the building on the outer wall of the apse in the courtyard of the cloisters. The exact age of the rose is no longer precisely known, but the legend of the rose bush claims that it dates to 815. It is an important symbol of Hildesheim – according to folklore, as long as the bush flourishes, Hildesheim will prosper. [ 10 ] According to the story, Emperor Louis the Pious had to hold a Mass while out hunting in the middle of the forest. For this purpose, a reliquary of St. Mary which he had with him was hung from the branch of a wild rose. After the mass, the reliquary could not be removed from the branch. The Emperor considered this a sign that the new bishopric should be established here (not in Elze as he had planned) and he should dedicate it to St. Mary, whose symbol is the rose. [ 10 ] The existence of the rose bush has been attested for at least four hundred years. The aerial bombardment of 22 March 1945 which damaged the cathedral and the apse also killed the main growth of the rose bush above the ground; under the rubble, only the charred stump of the rose remained. It was thought that the end of the famous rose had come, but the roots were largely intact, and in the spring of 1945 it put out 25 new shoots. [ 10 ] The first sparse flowers bloomed in 1947, and by 1948 there were 122 flowers. Since then, the new branches of the "Thousand-year Rose" (as it was already known before the bombing) have been marked with little metal signs with the year in which they first appeared. It is believed to be the oldest living rose in the world. [ 11 ] Archaeological finds [ edit ] In excavations during the 2010–2014 renovations of the cathedral, ninth-century foundations of the St. Mary's chapel were found. [ 12 ] The first cathedral building was a small church measuring 6 × 6 m with an apse to the east. The remains of the first altar were found in the apse. The foundations of this first cathedral building consist of sandstone and are extraordinarily thick. [ 13 ] An even older cemetery was found to the west and south. Twenty graves were uncovered, including, in August 2012, the skeleton of a young woman who died around 800, with glass beads (the remnants of a necklace) and a little knife as grave goods. This is the oldest complete burial ever found in Hildesheim cathedral. [ 14 ] Excavations in the westwork Grave from around 800 Interior decoration, art, and treasures [ edit ] Detail of Bernward Doors Romanesque Hezilo chandelier Detail of the baptismal font : Baptism of Christ in the Jordan The sanctuary with the Azelin chandelier and the irminsul as apse cross The cathedral houses numerous works of art. These include the world-famous cast-bronze doors , depicting scenes from the Gospels and the Book of Genesis; and a cast-bronze column depicting scenes from the life of Christ. These bronzeworks date from the early 11th century and were commissioned by Bishop Bernward of Hildesheim . [ 3 ] (The column was originally in St Michael's, where Bernward was buried, and has been moved there again during the restoration of the cathedral, possibly to stay.) [ 15 ] There are also four notable Romanesque wheel chandeliers , also called corona or circular chandeliers, [ 16 ] [ 17 ] the larger Hezilo chandelier ( Heziloleuchter ), [ 13 ] [ 17 ] and the older Azelin chandelier ( Azelinleuchter ). [ 17 ] The Ringelheim Crucifix was made c. 1000 from linden wood for the body and oak for the arms. [ 18 ] Other treasures include: [ 3 ] The shrine of St. Epiphanius of Pavia and Cathedral patrons over a chapel in the northeast, first half of the twelfth century The shrine of St. Godehard in the crypt, around 1140 The Reliquary of Mary , the Crosses of Bernward and further magnificent reliquaries and liturgical implements displayed in Hildesheim Cathedral Museum ( Dommuseum Hildesheim ) in the south transept The eagle lectern , c. 1220, in liturgical use up until the recent renovations The late Romanesque bronze baptismal font ( Bronzetaufe ), 1225 The gothic Inkpot Madonna ( Tintenfassmadonna ) The central table of the Wrisberg epitaph (in the south transept until the recent renovations)) An apse cross standing in the apse, the pedestal of which, legend has it, was made from the core of the Irminsul . the Tomb of Priest Bruno ( de ) on the southern exterior wall of the choir The Bernward Monument ( de ) of Carl Ferdinand Hartzer [ de ] from 1893 stands in front of the north paradise entrance Hildesheim rood screen ( Hildesheimer Domlettner , de ) in the Cathedral Museum During the 2010–2014 renovations, many religious items from the cathedral were displayed at the Metropolitan Museum of Art in New York City, until 5 January 2014. [ 19 ] [ 20 ] Bernward Column Bronze baptismal font Shrine of St. Epiphanius Statue of Bishop Godehard Bernward Doors Organs [ edit ] The history of the organ at Hildesheim Cathedral dates back to the fourteenth century. In 1378, there was an organ in the north aisle, above the chapel of the Three Kings. This instrument was relocated to the Godehard choir during the fifteenth century and eventually sold in 1713. The first large organ was built by Conrad Abtt (Minden) c. 1616/17. The instrument had 31 stops on two manuals and pedal. During the 17th and 18th century, the instrument was rebuilt and expanded. In 1909, Furtwängler & Hammer (Hannover) built a new organ with 54 stops (three manuals and pedal), re-using the organ case from 1617. On March 22, 1945, the organ was destroyed during an air raid. Main Organ by Seifert (2014) Organ 1960–2010 [ edit ] In 1960, Franz Breil (Dorsten) built a new organ with 52 stops on four manuals and pedal. [ 21 ] In 1989, it was partially rebuilt and expanded to 66 stops by Klais (Bonn). [ 21 ] Seifert Organs (2014) [ edit ] In 2014, Orgelbau Romanus Seifert & Sohn (Kevelaer) built a new organ with 77 stops on four manuals and pedal, re-using windchests and 56 stops from the previous instrument. [ 22 ] In addition, a new antiphonal organ (Chororgel) with 16 stops was built. It is located in the left isle of the cathedral. Both organs can be played from two identical four-manual consoles: the console of the great organ, and a movable console in the nave. [ 22 ] Bells [ edit ] The Nikolaus bell, 1766 Until the Second World War, the cathedral contained over sixteen ringing and quarter bells. The basis of the pre-war peal was five great bells with the tones F-sharp 0 , A 0 , C-sharp 1 , F-sharp 1 , G-sharp 1 . Nine bells of the pre-war peal survived the war; the great Godehard bell in the west tower was so severely damaged in an air raid that it could no longer be rung. The Bernard bell is in the Bell cemetery in Hamburg and was irreparably damaged during transport there. Two bells were capable of being reused: the historical Apostolica bell of bellfounder Johann Martin Roth of Mainz (1765), which could be integrated into the new peal, and another historic bell of Johann Martin Roth, the Nikolaus bell, which was originally hung in the crossing tower and was moved to the Nordparadies in 2010. [ 23 ] Refounding of 1960 [ edit ] After the Second World War it was planned to create a 12-toned peal, with six great bells in the west tower and six smaller bells in the crossing tower (the planned tones: G 1 , B ♭ 1 , C 2 , E ♭ 2 , F 2 and G 2 ). At first only a six tone peal was produced. In 1960 the bellfounder Friedrich Wilhelm Schilling [ de ] (Heidelberg) cast five new bells, which were installed in the west tower together with the Apostolica bell. In the lower belfry of the tower hung the three deepest bells (1–3), while the three smaller bells (4–6) were in the upper belfry. The new peal (co-ordinated with the bells of the surrounding churches) was a semitone deeper than the original, so the Apostolica bell had to be tuned a semitone lower to fit with the new bells. [ 23 ] Since the quarter bells had also been destroyed in the Second World War, the quarter-hour chimes were now struck by bell No. 5, the chime on the hour by bell No.4 and the chime at noon by bell No. 1. Bell No. 6 was used for the call to worship (the Angelusglocke ). [ 23 ] Renovation 2013/2014 [ edit ] In the course of the 2010–14 renovation, the peal is being expanded by six bells to the 12-tone peal which had originally been planned in the 1960s, though, the tone sequence will be slightly different. [ 24 ] The new cathedral bells will be named after witnesses of the faith, who enjoy particular veneration in the Diocese of Hildesheim. Thus bell No. 8 will be named for Bishop Altfrid, one of the most important bishops of Hildesheim, who secured large contributions for the construction of the cathedral. Bell No. 9 will be named after Hedwig of Schlesien (or of Andechs), patron of refugees – since many refugees came to Hildesheim after the Second World War and were crucial in shaping it. [ 24 ] In 2013 the old yoke in the upper belfry was taken apart and replaced by a new yoke of oak. It will hold the six new bells and some of the old ones. In the lower belfry the deepest bells will remain in place. [ 25 ] On 16 November 2013 the new bells were cast by Glockengießerei Bachert [ de ] (Karlsruhe). [ 26 ] The Cantabona bell is the second biggest of Lower-Saxony after the Christus- und Friedensglocke (Bell of Christ and Peace) in the Marktkirche, Hanover . Technical information and inscriptions of the bells No. Name Year of casting Caster, casting location Ø (mm) Weight (kg) Strike tone ( ST - 1 / 16 ) Inscription Belfry 1 Cantabona ( Mary ) 1960 Friedrich Wilhelm Schilling , Heidelberg 2315 8686 F 0 +5 CANTATE DOMINO CANTICUM NOVUM QUIA MIRABILIA FECIT SANCTA MARIA CANTA BONA NOBIS! – Auxilio Matris D.N.J.Ch. confidens me fudit F.W. Schilling Heidelbergensis Anno Domini MCMLIX ("Sing for the Lord a new song since he has made miracles. Holy Mary sing good things for us! – trusting in the aid of the mother of our Lord Jesus Christ, F.W. Schillung of Heidelberg cast me in the year of our Lord 1959.") Lower westwork 2 Apostolica 1765 Johann Martin Roth, Mainz 1946 4895 A ♭ 0 +5 Johann Martin Koch von Maintz hat mich gegossen in Hildesheim Anno 1765, APOSTOLIS PETRO ET PAULO COMPATRONIS HILDESIENSIBUS ("Johann Martin Koch of Mainz cast me in Hildesheim in the year 1765, for the Apostles Peter and Paul, joint-patrons of Hildesheim.") 3 Bernward 1960 Friedrich Wilhelm Schilling, Heidelberg 1699 3366 B ♭ 0 +4 SIT PIA PAX ET VOS AMEN CANITE SANCTE BERNWARDE ORA PRO NOBIS 0 ("May there be holy peace. Sing "Amen"! Saint Bernward, plead for us") 4 Godehard 1502 2278 C 1 +4 STERNE RESISTENTES/STANTES REGE/TOLLE JACENTES. SANCTE GODEHARDE ORA PRO NOBIS ("Otherthrow the resisters/ rule the upstanding/ lift up the downcast. Saint Godehard plead for us") Upper westwork 5 Epiphanius 1258 1343 E ♭ 1 +6 EPIPHANIUS PACIFICATOR PATRONUS EPIPHANIAM DOMINI NUNTIAT. SANCTE EPIPHANI PRECARE PRO NOBIS ("Epiphanius the peacemaker and patron announces the epiphany of the Lord. Saint Epiphanius, pray for us") 6 Cäcilia 1156 1068 F 1 +4 CANTANTIBUS ORGANIS CAECILIA DOMINO DECANTABAT! SANCTA CAECILIA ADJUVA NOS ("while the organs sing, Caecilia sings to the Lord! Holy Caecilia, aid us") 7 Martin of Tours 2013 Bachert, Karlsruhe 1076 917 G 1 +3 HIC EST FRATRUM AMATOR + QUI MULTUM ORAT PRO POPULO SANCTE MARTINE + ORA PRO NOBIS ("He who pleads a lot for the people, loves his brothers Holy Martin, plead for us!") 8 Altfrid 1009 767 A ♭ 1 +6 INTERCESSIONE SANCTI EPISCOPI ALTFRIDI SUFFULTA + DIOECESIS NOSTRA FIRMA IN FIDE MANEAT ("Supported by the intercession of Holy Bishop Altfrid, may our diocese remain firm in its faith") 9 Hedwig 896 521 B ♭ 1 +6 BEATAE HEDVIGIS INTERCESSIO TRIBUAT POPULIS POLONIAE ET GERMANIAE CAELESTE SUBSIDIUM ("The intercession of blessed Hedwig grants the support of Heaven to the people of Poland and Germany") 10 Oliver Plunkett 792 357 C 2 +5 PROBASTI NOS + DEUS + ET EDUXISTI NOS IN REFRIGERIUM SANCTUS OLIVERUS PLUNKETT + RECONCILIATIONIS EXEMPLUM + EPISCOPUS ET MARTYR + ADIUVET NOS (You have tested us, God, and you have brought us to consolation. May holy Oliver Plunkett, example of reconciliation, Bishop and martyr, aid us") 11 Niels Stensen 733 294 E ♭ 2 +7 PULCHRA QUAE VIDENTUR + PULCHRIORA QUAE SCIUNTUR + LONGE PULCHERRIMA QUAE IGNORANTUR BEATE NICOLAE STENSEN + ORA PRO NOBIS ("What is seen is beautiful, what is known is more beautiful, what is unknown is most beautiful by far. Blessed Nicholas Stensen, plead for us") 12 Edith Stein 671 232 F 2 +6 CRUX EXALTATUR + UT CAELUM OSTENDAT SANCTA TERESIA BENEDICTA A CRUCE + ORA PRO NOBIS ("The cross is raised up to touch the heavens. Holy Teresa blessed by the cross, plead for us") – Nikolaus 1766 Johann Martin Roth, Mainz 950 550 A ♭ 1 +2 – World Heritage Site [ edit ] Hildesheim Cathedral was declared a World Heritage Site by UNESCO in 1985, along with St. Michael's Church . [ 1 ] Reopening [ edit ] On 15 August 2014, the cathedral was reopened after restoration. Bishop Norbert Trelle opened the Bernward doors and entered the cathedral, followed by 30 other bishops and guests including the Protestant bishop Christoph Meyns [ de ] , Robert Zollitsch , Stephan Weil and Christian Wulff . Trelle said in his sermon: "Die Kirche muss auf die Zukunft hin leben, so wie sie aus der Vergangenheit heraus lebt." (The church has to live towards a future, as it lives from by the past). He added, regarding the situation in Syria: "Während wir hier einen Dom wiedereröffnen, brennen dort die Kirchen." (While we reopen a cathedral here, churches are burnt there). The cathedral was restored to an appearance closer to the original building from the medieval age, for example a ceiling inserted after World War II was removed, and the original floor level restored. A new altar was created by Ulrich Rückriem . [ 27 ] [ 28 ] Location [ edit ] Aerial view of the Hildesheim Cathedral on the Domhügel Hildesheim Cathedral is situated at the southern middle of the city centre of Hildesheim, on the so-called Domhügel ("Cathedral's Hill"). The main entrances to the cathedral are on the south and north sides. The Roemer- and Pelizaeus-Museum , is very close to the cathedral in the west. Around the hill is the wall of the Domburg . From the north of the Hill is the Michaelishügel ("St. Michael's Hill"), from the northeast is the downtown of Hildesheim and to the west is the River Mühlengraben , a tributary of the Innerste River. On the north of the cathedral is the former government building of the city, on the west the Episcopal Vicariate General of the Diocese, in the south the Gymnasium Josephinum school and on the east the Labour Court of the city. Bibliography [ edit ] Brandt, Michael (2009), Bernwards Säule – Schätze aus dem Dom zu Hildesheim (in German), Regensburg: Schnell & Steiner, ISBN 978-3-7954-2046-8 . ——— (2010), Bernwards Tür – Schätze aus dem Dom zu Hildesheim (in German), Regensburg: Schnell & Steiner, ISBN 978-3-7954-2045-1 . Gallistl, Bernhard (2007–2008), "In Faciem Angelici Templi. Kultgeschichtliche Bemerkungen zu Inschrift und ursprünglicher Platzierung der Bernwardstür", Jahrbuch für Geschichte und Kunst im Bistum Hildesheim (in German), 75– 76: 59– 92, ISSN 0341-9975 . ——— (2000), Der Dom zu Hildesheim und sein Weltkulturerbe, Bernwardstür und Christussäule (in German), Hildesheim: Bernward Mediengesellschaft, ISBN 3-89366-500-5 . Heise, Karin (1998), Der Lettner des Hildesheimer Doms – Die Bildhauerkunst der Münsterschen Werkstätten 1535–1560 , Der Hildesheimer Dom – Studien und Quellen (in German), vol. 2, 1 + 2, 2, Hildesheim: Georg Olms Verlag , 2 volumes. Claudia Höhl. Das Taufbecken des Wilbernus – Schätze aus dem Dom zu Hildesheim , Verlag Schnell & Steiner GmbH, Regensburg 2009, ISBN 978-3-7954-2047-5 . Ulrich Knapp (ed.), EGO SUM HILDENSEMENSIS – Bischof, Domkapitel und Dom in Hildesheim 815 bis 1810 , (Kataloge des Dom-Museums Hildesheim; Bd. 3), Michael Imhof Verlag , Petersberg (2000), ISBN 3-932526-74-0 . Karl Bernhard Kruse (ed.), Der Hildesheimer Dom – Von der Kaiserkapelle und den Karolingischen Kathedralkirchen bis zur Zerstörung 1945 (Grabungen und Bauuntersuchungen auf dem Domhügel 1988 bis 1999) , Verlag Hahnsche Buchhandlung, Hannover (2000), ISBN 3-7752-5644-X . Annett Laube-Rosenpflanzer & Lutz Rosenpflanzer. Kirchen, Klöster, Königshöfe : vorromanische Architektur zwischen Weser und Elbe , Halle 2007, ISBN 3-89812-499-1 . References [ edit ]
|
|
1,022
|
53.105833°E
|
36.255667°N
|
Lajim Tower
|
https://en.wikipedia.org/wiki/Lajim_Tower
| 396
|
Iran
|
Tomb tower in Mazandaran, Iran Lajim Tower برج لاجیم Lajim Tower in Savadkuh County, Mazandaran Province, Iran Location of Lajim Tower in Iran General information Type Tomb tower Architectural style Islamic architecture Town or city Lajim , Mazandaran Country Iran Coordinates 36°15′20″N 53°06′21″E / 36.255667°N 53.105833°E / 36.255667; 53.105833 Completed c. 1022 AD Height 14 metres (46 ft) Dimensions Diameter 9 metres (30 ft) Technical details Floor count 2 Designations National Monument The Lajim Tower ( Persian : برج لاجیم , also known as Tomb Tower of Lajim ) is a tall cylindrical tower used as a tomb , and located in the village of Lajim near Savadkuh in Mazandaran Province , Iran . [ 1 ] The tower was built around 1022 CE during the Bavand dynasty that ruled over the region at the time. [ 2 ] Architecture [ edit ] The tower has a cylindrical burial chamber crowned by a double dome , though the outer dome has not survived. It is likely the outer dome was originally conical in shape, typical for tomb towers in the region from the same period. [ 3 ] The entrance to the burial chamber is on the eastern side. [ 1 ] Decorative features are concentrated below the dome surrounding the entrance. Directly below the dome is a row of shallow arched niches. Below this is a narrow band of geometric patterns, separating it from two inscriptive bands. The upper band is written in Pahlavi , the language of the pre-Islamic Sasanian Empire , and the lower band is in Arabic using the Kufic calligraphic style. The Pahlavi inscription is largely damaged and has not yet been deciphered. The Arabic inscription contains the name of the person buried in the tomb – Abu'l Favaris Shahriyar bin Abbas bin Shahriyar. [ 3 ] The entranceway is crowned by a pointed arch and set inside a shallow niche with a second pointed arch. Its tympanum features a brick honeycomb pattern. The plain cylindrical interior chamber is lit solely by the entrance. [ 3 ] The Lajim Tower inscriptions represent the first known use of the word " qubba " referring to the domed structure of the building, demonstrating the architectural influence of Islam in the region. [ 1 ] The tower was an important monument that drew the attention of North Iranian rulers who valued pre-Islamic art and script. [ 2 ] Current use [ edit ] After restorations, the tower is now a pilgrimage site for residents of the Lajim village and surrounding rural areas of Savadkuh. The ornately carved inscriptions under the dome make this brick structure an artistically significant example of ancient Iranian architecture and design. [ 1 ] References [ edit ]
|
|
1,024
|
30.51333°E
|
50.44889°N
|
Golden Gate, Kyiv
|
https://en.wikipedia.org/wiki/Golden_Gate,_Kyiv
| 25,931
|
Ukraine
|
Historic landmark in Kyiv, Ukraine For the metro station, see Zoloti Vorota (Kyiv Metro) . Golden Gate 1982 reconstruction of the Golden Gate, pictured in 2018 after major renovations General information Status Used as a museum Type Fortifications Address Volodymyrska St, 40А Town or city Kyiv Country Ukraine Current tenants Golden Gate Museum Construction started 1017 Completed 1024 Owner National Reserve "Sophia of Kyiv" Dimensions Other dimensions 10.5 m (34 ft) wide x 32 m (105 ft) high Immovable Monument of National Significance of Ukraine Official name Золоті Ворота (Руїни Золотих Воріт) ( Golden Gate (Ruins of the Golden Gate) ) Type Architecture, History Reference no. 260073-Н The Golden Gate of Kyiv ( Ukrainian : Золоті ворота , romanized : Zoloti vorota [zɔloˈti woˈrɔtɐ] ) was the main gate in the 11th century fortifications of Kyiv , the capital of Kievan Rus' . It was named in imitation of the Golden Gate of Constantinople . The structure was dismantled in the Middle Ages , leaving few vestiges of its existence. In 1982, it was rebuilt completely by the Soviet authorities, though no images of the original gates have survived. The decision has been immensely controversial because there were many competing reconstructions of what the original gate might have looked like. [ 1 ] The rebuilt structure on the corner of Volodymyr street and Yaroslaviv Val Street contains a branch of the National Reserve "Sophia of Kyiv" museum. The name Zoloti Vorota is also used for a nearby theater and the Zoloti Vorota station of the Kyiv Metro . History [ edit ] Bolesław I of Poland and Sviatopolk the Accursed at Kyiv, in a legendary moment of hitting the Golden Gate with the Szczerbiec sword. Painting by Jan Matejko Modern history accepts this gateway as one of three constructed by Yaroslav the Wise . The golden gates were built in 1017–1024 (6545 by the Byzantine calendar ) at about the same time the Saint Sophia Cathedral was erected. Mentions of an older construction, such as the one presented on a painting by Jan Matejko of king Bolesław I of Poland striking the Golden Gate with his sword during the intervention in the Kyivan succession crisis in 1018, it is now regarded a legend. Originally named simply the Southern Gate, it was one of the three main entrances to the walled city, along with the Ladski and Zhydivski ( Polish and Jewish) Gates. [ 2 ] The last two have not survived. The stone fortifications stretched for only 3.5 km. The fortification of the Old Kyiv (Upper City) stretched from the Southern Gates down to what is now Independence Square and where the Lechitic Gate [ 3 ] was located. From there, the moat followed what is now Kostyol Street, skirting St. Michael's Monastery and continuing along today's Zhytomyr Street toward the Jewish Gates (at Lviv Square ). From there, the fortification stretched what is now Yaroslaviv Val ("Yaroslav's Rampart") Street back to the Southern Gate. Remnants of the old Golden Gate in the 1970s, prior to its reconstruction. Later, the Southern Gate became known as the Great Gate of Kyiv. After the Blahovist Church (Church of the Annunciation) was built next to the gate, its golden domes became a prominent landmark easily visible from outside the city. Since then, the gateway has been referred to as the Golden Gate of Kyiv. The gate's passageway was about 12 metres (40 ft) high and 6 metres (20 ft) wide. For almost half a millennium, it served as the city's Triumphal Arch, a prominent symbol of Kyiv. Reputedly, it was modeled on the Golden Gate of Constantinople . Later, a similar name was given to the gates of Vladimir city where one of the Monomakh's descendants, Andrei I Bogolyubsky , established his own state, the Grand Duchy of Vladimir. In 1240, the gate was partially destroyed by Batu Khan 's Golden Horde . [ 4 ] It remained as a gate to the city (often used for ceremonies) through the eighteenth century, although it gradually fell into ruins. In 1832, Metropolitan Eugenius had the ruins excavated and an initial survey for their conservation was undertaken. Further works in the 1970s added an adjacent pavilion, housing a museum of the gate. In the museum, visitors can learn about the history of construction of the Golden gate as well as ancient Kyiv. The view of the gate from the "city side" In 1982, the gate was completely reconstructed for the 1500th anniversary of Kyiv , though this was challenged. Some art historians called for this reconstruction to be demolished and for the ruins of the original gate to be exposed to public view. [ citation needed ] In 1989, with the expansion of the Kyiv Metro , Zoloti Vorota station was opened nearby to the landmark. Its architectural assemble is based on the internal decorations of ancient Ruthenian churches . In 1997, the monument to Yaroslav the Wise was unveiled near the west end face of the Golden Gate. It is an enlarged bronze copy of an experimental figuring by Kavaleridze . Church above the passage [ edit ] In addition to mentioning the construction of the church above the passage of the Golden Gate in the chronicle, it is also mentioned in Metropolitan Ilarion's "Word of Law and Grace" of the Golden Gate. [ 5 ] Interior of Golden Gate Gate Church had to serve "the heavenly protection of the city", [ 6 ] but was also a regular church – people arrived to pray there. [ 7 ] The bell chapel is reproduced in the form of a three-nave four-pillar single-dome temple. In the architectural decoration of the facades used ornaments from the brick, typical for the ancient buildings of that period. The floor of the church is decorated with a mosaic, the picture of which is based on the ancient floor design of Saint Sophia's Cathedral in Kyiv . Reconstruction of the monument reproduces the segments of the shaft adjoining to the gate. On the outside they have suspended slopes. At the top of the shaft there are wooden bunks. On the ends conventionally shown internal structures. From the city side on the facade there are warehouses. Inside the restored shaft segments there is an exposition of the Museum of the Golden Gate and the stairs leading to the balcony, from which a magnificent panorama of the city is visible. Square [ edit ] The square around the Golden Gate [ uk ] was created in the second half of the 19th century. Botanical natural monument was created by the decision of the Kyiv executive committee No. 363 20 March 1972. See also [ edit ] Golden Gates in Vladimir , the only extant example of a gateway of medieval Rus' . Pictures at an Exhibition , by composer Modest Mussorgsky , is a musical suite, one part of which was inspired by Viktor Hartmann 's project for another gate in Kyiv. References [ edit ]
|
|
1,026
|
44.228625°E
|
40.387492°N
|
Vahramashen Church
|
https://en.wikipedia.org/wiki/Vahramashen_Church
| 1,264
|
Armenia
|
Cultural heritage monument of Armenia Vahramashen Church of Surp Astvatsatsin General view of Vahramashen Church and the southern slope of Mount Aragats Religion Affiliation Armenian Apostolic Church Location Location Southern slope of Mount Aragats , Aragatsotn Province , Armenia Shown within Armenia Show map of Armenia Vahramashen Church (Aragatsotn) Show map of Aragatsotn Geographic coordinates 40°23′15″N 44°13′43″E / 40.387492°N 44.228625°E / 40.387492; 44.228625 Architecture Type Cruciform central-plan Style Armenian Completed 1026 The Vahramashen Church ( Armenian : Վահրամաշեն եկեղեցի ), also commonly referred to as Vahramashen Surp Astvatsatsin or the Church of Amberd ) was built for Prince Vahram Pahlavuni of the Pahlavuni family. An inscription on the inside lintel of the north portal to the church dates its completion to the year 1026. It sits along the slopes of Mount Aragats in the Aragatsotn province of Armenia , between the fortress of Amberd and near a wall along the promontory with the Arkashian River in the canyon below. Architecture [ edit ] S. Astvatsatsin is a cruciform type church with four two-story chambers in the corners. A large circular twelve-faceted drum sits on top of the church, with pairs of thin decorative columns standing at the edge of each facet. A conical umbrella type dome rests above. The exterior of the church is simply decorated with edging around the portal and saddles of some small windows, layers of cornice work just above the thin columns on the drum and dome, and some cross relief designs carved into the façades. Gallery [ edit ] Location of Amberd fortress and Vahramashen Closeup of church South portal (main entry) Closeup of cupola Interior view of the dome Khachkar Vahramashen Surp Astvatsatsin during the spring See also [ edit ] Amberd References [ edit ] Ararat - Page 29 by Armenian General Benevolent Union Documenti Di Architettura Armena, published by Edizione Ares Notes [ edit ]
|
|
1,029
|
6.82750°W
|
34.04000°N
|
Great Mosque of Salé
|
https://en.wikipedia.org/wiki/Great_Mosque_of_Sal%C3%A9
| 4,423
|
Morocco
|
Mosque in Salé, Morocco Great Mosque of Salé المسجد الأعظم Religion Affiliation Islam Location Location Salé , Morocco Shown within Morocco Geographic coordinates 34°02′24″N 06°49′39″W / 34.04000°N 6.82750°W / 34.04000; -6.82750 Architecture Type Mosque Date established c. 1130 Completed 1196 (rebuilt) 18th century (major modifications) The Great Mosque of Salé ( Arabic : الجامع الأعظم , romanized : al-Jama' al-A'dam ), also known as the Masjid al-Tal'a , [ 1 ] [ 2 ] is a historic mosque in Salé , Morocco. It is the main mosque of the old city. Covering an area of 5,070 m 2 (54,600 sq ft), it is the third-largest mosque in Morocco. [ 3 ] A first mosque on this site may have been built between 1028 and 1030. [ 4 ] [ 5 ] The current mosque was the result of a reconstruction and expansion by the Almohad ruler Yaqub al-Mansur in 1196. Further renovations in the 18th century gave the building its present-day appearance. [ 1 ] It was severely damaged in the Bombardment of Salé of 1851 and was briefly closed during the French protectorate in Morocco . History [ edit ] The mosque has been destroyed and rebuilt many times since the beginning of the city's history. [ 4 ] A first mosque may have been built under the orders of Temim Ibn Ziri , a leader of the Banu Ifran tribe, in 420 AH ( c. 1030 CE ). [ 5 ] [ verification needed ] A new, larger mosque was built in 1196 under Abu Yusuf Yaqub al-Mansur 's orders after the old mosque's roof had collapsed. [ 1 ] The architect of the Almohad building was known as al-Gharnati – a name which suggests he was from Granada in Al-Andalus . [ 6 ] According to tradition, 700 French slaves were involved in the reconstruction under al-Mansur's orders. [ 6 ] Entrance to the mosque (center) and to the adjacent 14th-century Marinid Madrasa (left) In 1260, Salé was sacked and occupied by Castilian forces, [ 1 ] during which 3000 women, children and elderly residents of the city were gathered in the mosque and taken as slaves for Seville . [ 4 ] The Marinid sultan Abu Yusuf Yaqub reconquered the city soon afterwards. In 1342 another Marinid sultan, Abu al-Hasan , built the Madrasa of Abu al-Hasan next to the mosque, adding to its development as a religious and intellectual center of the city. [ 1 ] The mosque was largely rebuilt and modified over time, and its present appearance dates from the 18th century, [ 1 ] under the ' Alawi dynasty . The mosque's current minaret likewise dates from the 'Alawi period. [ 2 ] In 1851, Salé was bombarded by French forces, and the mosque was severely damaged after being struck by six cannonballs. [ 7 ] During the French protectorate in Morocco , the mosque was used for nationalist gatherings in the 1930s, led by people such as Said Hajji , Ahmed Maaninou , Boubker el-Kadiri , and Abu Bakr Zniber . [ 8 ] The French protectorate later [ when? ] closed the mosque to prevent it being used as a place to awaken awareness of nationalist sentiment, but it later [ when? ] re-opened. [ 8 ] Gallery [ edit ] The minaret of the mosque The main courtyard ( sahn ) of the mosque The gallery around the courtyard Inside the prayer hall of the mosque See also [ edit ] Madrasa of Abu al-Hasan List of mosques in Morocco References [ edit ]
|
|
1,032
|
14.8981°E
|
49.8761°N
|
Sázava Monastery
|
https://en.wikipedia.org/wiki/S%C3%A1zava_Monastery
| 13,008
|
Czechia
|
Aerial view of Sázava monastery (2012 photograph) Sázava monastery seen from the south-west (April 2014) 1822 depiction of the monastery Sázava Monastery ( Czech : Sázavský klášter ) is a former Benedictine abbey and a monastery in Bohemia ( Czech Republic ), established by Bretislaus I, Duke of Bohemia around 1032. [ 1 ] [ 2 ] It is situated some 30 km southeast of Prague , on the right bank of the eponymous Sázava river , a right tributary of the Vltava . The town of Sázava ( Benešov District ) grew around the monastery. The monastery is notable, long after it's foundation by St Procopius of Sázava , for having followed the Byzantine Rite in the Old Church Slavonic liturgical language in the 11th century. It was forcibly transferred to the Latin rite in 1097, but remained a monastery until its destruction during the Hussite Wars in 1421. It was again re-established as part of the re-catholization of Bohemia under Habsburg rule in 1664 and finally dissolved under the policy of Josephinism in 1785. The extant buildings mostly date to the Baroque period , with 19th-century neo-Renaissance extensions, with some remaining structures in the Gothic style of the 13th to 14th centuries, notably the unfinished three-nave Gothic basilica. History [ edit ] The monastery is the site of the hermitage of Procopius of Sázava (d. 1052), a hermit (canonized in 1204 by Innocent III ). [ 1 ] Procopius attracted a community of hermits, which formed the basis of the Benedictine monastery established in 1032. It is one of the oldest monasteries founded in the Duchy of Bohemia , established some 40 years after Břevnov Monastery . In 1056, duke Spytihněv II had the monks expelled from the abbey. [ 3 ] The monks found sanctuary in Hungary until 1061, when Duke Vratislaus II of Bohemia had them returned to the abbey. [ 3 ] Unusually for a Benedictine abbey, Sázava was an important center of the Byzantine Rite Divine Liturgy in Old Church Slavonic (rather than Ecclesiastical Latin ) until 1096. [ 1 ] [ 4 ] The first stone church, consecrated to the Holy Cross , was built in 1070. The ruins of this church have been excavated and are visible in the garden north of the monastery building. In December 1096, the monks were expelled for the second time, by duke Bretislav II , marking the end of the Byzantine Rite in the Czech lands . The Byzantine Catholic monks were replaced by Latin Rite Benedictines from Břevnov Monastery under abbot Diethard (d. 1133). [ 1 ] It was under Diethard that all Old Church Slavonic books in the monastery library were destroyed . [ 1 ] In the 12th century, the Romanesque basilica and monastery buildings were completed. A 12th-century chronicle, De exordio Zazavensis monasterii , records the history of the monastery up to the year 1177. It also contains a continuation of Cosmas of Prague down to 1162. The monastery's founder Procopius was formally canonized in Sázava, in the presence of Ottokar , the first hereditary king of Bohemia , on 4 July 1204. In the later 13th to 14th centuries, the Romanesque basilica was transformed into a Gothic one, intended as a monumental three-nave structure, which however remained unfinished. The monastery buildings were also rebuilt in the Gothic style. The Madonna of Sázava is a notable 14th-century fresco in the capitular hall, unusually depicting Mary, mother of Jesus walking alongside a child Jesus aged about five years old. Sázava was sacked by Hussite troops in 1421 and the monks were expelled, interrupting building activity. Over the following two centuries, the monastery had secular owners and fell into decay. In 1664, the monastery was again revived, bought by Seifert, abbot of the Břevnov and Broumov monasteries. The dilapidated buildings were reconstructed in the Baroque style by architect Vít Václav Kaňka. A fire in 1746 damaged the Baroque buildings, which were restored under architect Kilian Ignatius Dientzenhofer in the late Baroque or Rococo style. The Rococo altar with a painting of the Assumption of Mary by Jan Petr Molitor and frescos of this period are extant. The monastery was finally closed down by decree of Emperor Joseph II in 1785. The monastery domain again fell to secular owners from 1809, first to Wilhelm Tiegel of Lindenkrone, who used the cloister as a chateau, while the basilica remained in operation as a parish church. The domain was sold to Johann Friedrich Neuberg in 1869, who commissioned reconstruction work in neo-Renaissance style . The domain and chateau were sold to Friedrich Schwarz in 1876. Part of the domain was sold to Benedictine monks from Emmaus Monastery in 1932, who intended to re-establish the monastery in Sázava. Benedictine monk and priest Method Klement moved from Emmaus to Sázava in 1940 and began preparatory work, but the plan was interrupted by the outbreak of World War II and the subsequent communist regime. The area was managed by the National Cultural Committee of Czechoslovakia from 1951. In 1962, the area became a National Cultural Heritage Site, managed by the National Heritage Institute. Archaeological excavations were carried out during the 1960s to 1990s by Ivan Borkovský , Petr Sommer , and others. The exhibition "Old Slavic Sázava" was opened in 1983. As part of the reprivatization following the establishment of the Czech Republic , the property was restored to Marie Hayessová, as heiress of the Schwarz family in 2003. She sold the property to the state in 2006. Under the 2013 act on church restitution, parts of the domain were returned to the Roman Catholic parish of Černé Budy (Sázava) and parts to Emmaus Monastery. The National Heritage Institute remains in charge of restoration and conservation, focussing on the threatened pillars of the unfinished Gothic three-nave structure and on the restoration of the baroque frescos. In popular culture [ edit ] Sázava Monastery is featured in the 2018 video game Kingdom Come: Deliverance , where it is called Sasau Monastery. "The Madonna of Sasau" is the name of a story arc in the game. [ 5 ] References [ edit ]
|
|
1,034
|
8.36639°E
|
49.63361°N
|
Worms Synagogue
|
https://en.wikipedia.org/wiki/Worms_Synagogue
| 8,306
|
Germany
|
Historical synagogue in Rhineland-Palatinate, Germany Worms Synagogue German : Worms Synagoge Rear view of the Worms Synagogue, 2005 Religion Affiliation Judaism Ecclesiastical or organisational status Synagogue Status Active Location Location Hintere Judengasse 6, Worms , Rhineland-Palatinate Country Germany Location of the synagogue in Rhineland-Palatinate Geographic coordinates 49°38′1″N 8°21′59″E / 49.63361°N 8.36639°E / 49.63361; 8.36639 Architecture Type Synagogue architecture Style Romanesque Gothic Completed 1034 (original); 1175 (second); 1961 (third) Materials Stone; slate Website schumstaedte .de /en /shum /worms / UNESCO World Heritage Site Type Cultural Criteria ii, iii, vi Designated 2021 Part of ShUM Sites of Speyer , Worms and Mainz Reference no. 1636 [ 1 ] The Worms Synagogue ( German : Worms Synagoge ), also known as Rashi Shul , is a Jewish congregation and synagogue located in the northern part of the city center of Worms , in the Rhineland-Palatinate region of Germany . Founded in the 11th century, the synagogue is one of the oldest in Germany. The Worms Synagogue was inscribed on the UNESCO World Heritage List in 2021 (along with other medieval Jewish cultural sites in Speyer and Mainz ), [ 1 ] due to its historical importance and its testimony to the European Jewish cultural tradition through millennia. History [ edit ] The first synagogue at the site was built in 1034 and is therefore regarded as the oldest existing synagogue in Germany. [ 2 ] The building was destroyed during the First Crusade in 1096 and subsequently rebuilt in 1175 in the Romanesque style. In 1186 a subterranean mikveh was constructed southwest of the synagogue. During the pogroms of 1349 and 1615 the synagogue was badly damaged: in both pogroms the vaulted ceilings and the walls were heavily damaged. During reconstruction after 1355 Gothic forms for the window and the vault were chosen. Of comparable seriousness was the damage after the fire of 1689 during the Nine Years' War . When the building was restored in 1700, the interior was renovated in period style. On Kristallnacht in 1938 the synagogue was once again attacked and reduced to rubble. It was painstakingly reconstructed in 1961, using as many of the original stones as could be salvaged. [ 3 ] The synagogue, open as a museum, continues to be a functioning synagogue used by the Jewish community. In May 2010, the synagogue was firebombed by arsonists, suspected to be anti-Zionists . [ 4 ] [ 5 ] The firebombs were thrown against eight corners of the stone building and against a window, but no one was injured and no serious damage to the building was reported. Architecture [ edit ] Built at the point when the late Romanesque style was fading and Gothic rising, the rectangular prayer hall features a pair of Romanesque columns supporting groin vaults. The windows in the thick stone walls are simple gothic arches. The windows in the adjoining study hall, the so-called Rashi Shul , have rounded Romanesque arches. The women’s section of the prayer hall has Romanesque windows on the eastern wall, and gothic windows on the western wall. [ 6 ] Gallery [ edit ] Pre-1938 interior of the Rashi Shul Interior Plan of the synagogue See also [ edit ] Germany portal Judaism portal Architecture portal History of the Jews in Germany List of synagogues in Germany (in German) Oldest synagogues in the World References [ edit ]
|
|
1,038
|
11.55778°E
|
43.73194°N
|
Vallombrosa Abbey
|
https://en.wikipedia.org/wiki/Vallombrosa_Abbey
| 4,154
|
Italy
|
Benedictine abbey in Reggello, Tuscany, Italy Abbey of Vallombrosa The arms of the abbey, reproduced from a missal in 1822 Vallombrosa is a Benedictine abbey in the comune of Reggello (Tuscany, Italy), about 30 km south-east of Florence , in the Apennines , surrounded by forests of beech and firs . It was founded by Florentine nobleman Giovanni Gualberto in 1038 and became the mother house of the Vallumbrosan Order . History [ edit ] What began as a hermit's small wooden hut was followed by a built stone church in 1058. This was enlarged around 1450 and took on its current appearance at the end of the 15th century. In 1529, after the looting by Charles V , the east tower was built. Between 1575 and 1578, Galileo Galilei was educated there and then withdrawn by his father, before taking orders, and moved to Pisa to study medicine. [ 1 ] In the 17th century the walls were erected, and in the 18th century the fishing ponds dug. Today the monastery is open to tourists and its "Antica Farmacia" sells local produce such as herbal teas and liqueurs made following antique recipes. Among these is the rare and legendary Dry Gin of Vallombrosa. On 7 October 1096, Pope Urban II addressed the congregation of Vallombrosa, imploring the religious amongst them to support the cause for a crusade to the Holy Land . In particular in this sermon, he cited the need for knights, who could "restore the Christians to their former freedom". 1 Largely because of his poetic reference to the "autumnal leaves that strow the brooks, in Vallombrosa" in Paradise Lost , John Milton is supposed to have visited the monastery and, according to a plaque erected during the Fascist era, actually stayed there. Though this is unlikely, the notion that he did so encouraged many later travelers to visit the place, including William Beckford , J. R. Cozens , William Wordsworth , Crabb Robinson , Frances Trollope , Mary Shelley , Elizabeth Barrett Browning , and Friederich Nietzsche . [ 2 ] The Anglo-Italian monk, Enrico Hugford, became Abbot of Vallombrosa in 1743 and fellow Catholic, John Talman , seems to have visited even earlier. Derek Walcott also mentions Vallombrosa in chapter 33 section 2 of his Omeros . Derek Walcott has allusions to several historical moments and other literary works throughout the Omeros , and Shmoop suggests that this reference was inspired by John Milton. Partly thanks to the influence of the pioneering American ecologist and author of the 1864 Man and Nature , George Perkins Marsh , the Istituto Superiore Forestale Nazionale was founded in the secularized monastery in 1867. The exterior [ edit ] The exterior retains the 12th century belltower and a 15th-century tower. It maintains a sobriety appropriate for a monastery. It is a walled precinct, accessed through an 18th-century gate. The facade was designed (1637) by Gherardo Silvani who completed designs by Alfonso Parigi ; Silvani also completed the facade of the church (1644). The church interior [ edit ] The interior of the church was frescoed (1779–1781) by Giuseppe Antonio Fabrini . The main altar has an Assumption by the Volterrano , The altar of the left transept has a Trinity by Lorenzo Lippi ; other altarpieces are by Agostino Veracini , Antonio Puglieschi , Niccolò Lapi . In the Baptistery (once chapel of the Converted) is a Conversion of Saul by Cesare Dandini and in the chapel of San Giovanni Gualberto , a fresco by Alessandro Gherardini , the scagliola altar was Ignazio Hugford , a canvas by Antonio Franchi . Offertories before this altar were made by members of the Forest Service who have San Giovanni Gualberto as their patron saint. The wooden choir to the right of the main altar was fashioned by Francesco da Poggibonsi (1444–1446); the reliquary has the arm of the saint who founded the Vallombrosan order by Paolo Sogliano (1500). The sacristy has an altarpiece by Raffaellino del Garbo depicting San Giovanni Gualberto and other saints (1508), and a great terracotta altarpiece from the studio of Andrea della Robbia ; the refectory has a series of canvases by Ignazio Hugford (1745); the antirefectory has a large painting by Santi Buglioni and a cycle of paintings (three triptychs) by Mario Francesconi . [ 3 ] The Museum of Sacred Art [ edit ] Inaugurated in 2006, the museum is located on the right side of the abbey complex. It houses works of art such as the 15th-16th century Altoviti Set with embroidered fabric, the great altarpiece by Domenico Ghirlandaio and workshop (Madonna with Child and Four Saints), a selection of paintings, and the scagliolas by the 18th-century abbot Enrico Hugford (brother of the painter Ignazio ). Other activities [ edit ] The spruces of the closest forest of Vallombrosa were used in the 15th century to build up the first Italian Masonic Lodge in via Maggio, Florence . [ 4 ] In 2017, the Vallombrosa Abbey hosted the Italian Red Cross national meeting on its history. [ 5 ] See also [ edit ] Arboreti di Vallombrosa References [ edit ]
|
|
1,040
|
88.99262°E
|
29.12783°N
|
Shalu Monastery
|
https://en.wikipedia.org/wiki/Shalu_Monastery
| 1,783
|
China
|
Tibetan Buddhist monastery near Shigatse, Tibet, China Shalu Monastery Tibetan transcription(s) Tibetan : ཞྭ་ལུ། Wylie transliteration : Zhwa-lu Official transcription (China): Xalu THL : Zhalu Other transcriptions: Shalu Chinese transcription(s) Traditional : 夏魯寺 Simplified : 夏鲁寺 Pinyin : Xiàlǔ Sì Religion Affiliation Tibetan Buddhism Sect Shalu Sakya Location Location Shigatse Prefecture , Tibet , China Architecture Founder Chetsun Sherab Jungnay Part of a series on Tibetan Buddhism Schools Nyingma Kadam Sakya Bodong Kagyu Jonang Gelug Rimé Key personalities First dissemination Padmasambhāva Śāntarakṣita Kamalaśīla Songtsen Gampo Trisong Detsen Ralpacan Second dissemination Atiśa Talika Abhayakirti Niguma Sukhasiddhi Milarepa Nyingma Yeshe Tsogyal Longchenpa Jigme Lingpa Patrul Rinpoche Dudjom Lingpa Mipham Kagyu Marpa Rangjung Dorje Jonang Dolpopa Taranatha Sakya Sakya Pandita Gorampa Bodongpa Samding Dorje Phagmo Gelugpa Je Tsongkhapa 5th Dalai Lama 13th Dalai Lama 14th Dalai Lama 10th Panchen Lama Teachings General Buddhist Three marks of existence Skandha Cosmology Saṃsāra Rebirth Bodhisattva Dharma Dependent origination Karma Tibetan Four Tenets system Rangtong-Shentong Svatantrika-Prasaṅgika distinction Nyingma Dzogchen Pointing-out instruction Practices and attainment Lamrim Pāramitās Bodhicitta Avalokiteśvara Meditation Laity Vajrayana Tantra techniques Deity yoga Guru yoga Dream yoga Thukdam Buddhahood Major monasteries Tradruk Drepung Dzogchen Ganden Jokhang Kumbum Labrang Mindrolling Namgyal Narthang Nechung Pabonka Palcho Ralung Ramoche Rato Sakya Sanga Sera Shalu Tashi Lhunpo Tsurphu Yerpa Institutional roles Dalai Lama Panchen Lama Lama Karmapa Rinpoche Geshe Tertön Tulku Western tulku Festivals Chotrul Duchen Dajyur Galdan Namchot Losar Dosmoche Monlam Sho Dun Losoong Texts Kangyur Tengyur Tibetan Buddhist canon Mahayana sutras Nyingma Gyubum Art Sand mandala Thangka Wall paintings Ashtamangala Tree of physiology Festival thangka Mani stone History and overview History Timeline Outline Culture Index of articles v t e Shalu Monastery ( Tibetan : ཞྭ་ལུ། , Wylie : zhwa lu ) is small monastery 22 kilometres (14 mi) south of Shigatse in Tibet . Founded in 1040 by Chetsun Sherab Jungnay , for centuries it was renowned as a centre of scholarly learning and psychic training and its mural paintings were considered to be the most ancient and beautiful in Tibet. Shalu was the first of the major monasteries to be built by noble families of the Tsangpa during Tibet's great revival of Buddhism , and was an important center of the Sakya tradition. A 14th-century depiction of the 11th abbot of Shalu Buton Rinchen (left) and his successor, a wall painting inside the monastery Young Monk in Shalu Monastery, 2006 Repair and reconstruction [ edit ] Repair and reconstruction of Shalu Monastery began on May 13, 2009, according to the Chinese government Xinhua online news. "The project, one of Tibet's biggest heritage renovation projects under the 11th Five Year Plan (2006–2010), involves reinforcement of its buildings, maintenance of sewage treatment facilities and improvement of fire and flood control systems", a prefectural government official said. It is planned to spend more than 16 million RMB yuan on the project. [ 1 ] Further reading [ edit ] Vitali, Roberto. 1990. Early Temples of Central Tibet . Serindia Publications. London. ISBN 0-906026-25-3 . Chapter Four: "Shalu Serkhang and the Newar Style of the Yüan Court." Pages 89–122. von Schroeder, Ulrich. 2001. Buddhist Sculptures in Tibet . Vol. One: India & Nepal ; Vol. Two: Tibet & China . (Volume One: 655 pages with 766 illustrations; Volume Two: 675 pages with 987 illustrations). Hong Kong: Visual Dharma Publications, Ltd. ISBN 962-7049-07-7 . Zhwa lu («shalu») monastery, pp. 554, 922, 925, 1085, 1088, 1129: Zhwa lu gSer khang («shalu serkhang»), 554, 842, 922, 925; Figs. XIV–14–16, XV–8. Jo khang («jokhang»), p. 922; Pls. 47C, 229A, 230C, 231B, 231D, 314A, 329E. gNyer khang byan g («nyerkhang chang»); Pls. 268C–D, 301A, 313A, 324E. gTsug la g khang («tsuglakhang»); Pl. 292A. Yum chen mo lha khang («yum chenmo lhakhang»), pp. 842–843; Figs. XIII–14–16. gZhal yas lha khang byang («shalye lhakhang chang»), pp. 439, 441, 913, 922; Figs. VII–3–4, XV–2; Pls. 169A, 169B, 229B, 229C, 230A, 230B, 231A, 231E, 322B. gZhal yas lha khang lh o («shalye lhakhang lho»), pp. 922, 1129; Pls. 232B–C, 233B–C, 234B, 252D–F, 315A, 315B, 315C, 315D, 315E, 318D, 318E. Notes [ edit ]
|
|
1,046
|
43.470556°E
|
42.322778°N
|
Savane church
|
https://en.wikipedia.org/wiki/Savane_church
| 185
|
Georgia
|
Savane church of Saint George სავანის წმინდა გიორგის ეკლესია Savane church. Southern façade. 42°19′22″N 43°28′14″E / 42.322778°N 43.470556°E / 42.322778; 43.470556 ( Savane ) Location Savane , Sachkhere Municipality Imereti , Georgia Type Single-nave basilica The Savane church of Saint George ( Georgian : სავანის წმინდა გიორგის ეკლესია , romanized : savanis ts'minda giorgis ek'lesia ) is an 11th-century Georgian Orthodox church in the western Georgian region of Imereti . A single-nave basilica built in 1046, the church has harmonious proportions, ornamented iconostasis , and exquisite decorative masonry details on the exterior façades. The church is inscribed on the list of Georgia's Immovable Cultural Monuments of National Significance . [ 1 ] History [ edit ] The Savane church stands on a hill on the left bank of the Qvirila River , a tributary of the Rioni , in the centre of the eponymous village, in the Sachkhere Municipality , Imereti region. Prince Vakhushti , in his Description of the Kingdom of Georgia written in 1745, erroneously claims that the church, with its iconostatis, was hewn out of a single rock. This error was then repeated by Marie-Félicité Brosset , who relied on the information provided by Dimitri Meghvinet-Ukhutsesi. In 1920, the church was studied in details by the Georgian historian Ekvtime Taqaishvili . [ 2 ] Layout [ edit ] Western façade with decorated colonettes and door and window frames. Under the pediment, there is a bas-relief of a panther or lion. The Savane church, dedicated to Saint George , is a single-nave basilica, made of neatly hewn, yellowish stones. It is rectangular in its plan, measuring externally 15.9 × 14.5 m., including the porch . [ 3 ] The interior is covered with barrel vaulting on four supporting arches. In the main apse there are, on the right and on the left, two high, deep recesses which represent a prothesis and a diakonikon . There is another arched recess in the northern wall of the church, at the end of the iconostasis. [ 2 ] The iconostasis is a high structure, with a notched cornice and divided into two distinct parts; the lower formerly took the form of a compact wall, made of slabs of hewn stone, with a royal door in the middle, but later doors were made to the north and the south. The upper part, made of stucco , consists of three cinquefoil arches with cusps in the form of clover leaves, resting on four carved columns. The interior of the Savane church is whitewashed, and there is no trace of paintings. The church is lit with five windows, one each on the east and west, and three on the south. The doors are to the west and south. Later—no earlier than the 14th–15th century—a porch was built in front of the southern door with complex, engaged columns , set in a cluster, the capitals and bases carved; probably at a later date still, separate chambers were added to the porch on the east and west. [ 2 ] The façades of the church are all richly ornamented. The embellishments include carved, notched cornices, window and door frames adorned with carving of Georgian interlaced work, and carved tympani . The southern façade is partially disfigured by the later addition of a porch with its side chambers. Above the porch is a small belfry constructed in the 19th century. [ 2 ] Inscriptions [ edit ] There are several inscriptions carved on the walls. The one on the southern façade, on the left of the window, below the archivolt , states that George, eristavt-eristavi ("duke of dukes"), built the church with the help of the Savane community: "In the name of God, I, George, eristavt-eristavi, have written this, and have given the half of this church to the Savane community. When I began to build the church they helped me with work, with money, with all things. May God give them happy use of it, for ever and ever". [ 2 ] Another inscription, on the western tympanum, confirms that the Savane church was built by George in 1046, in the reign of King Bagrat IV of Georgia (1027–1072). [ 2 ] References [ edit ]
|
|
1,049
|
114.36500°E
|
34.81667°N
|
Iron Pagoda
|
https://en.wikipedia.org/wiki/Iron_Pagoda
| 9,282
|
China
|
Historic building in Henan, PRC Iron Pagoda The Iron Pagoda of Kaifeng, China, built in 1049 Religion Affiliation Han Chinese Buddhism Location Country Kaifeng City, Henan province Location in Henan Geographic coordinates 34°49′00″N 114°21′54″E / 34.81667°N 114.36500°E / 34.81667; 114.36500 Architecture Completed 17 June 1049 ; 975 years ago ( 1049-06-17 ) The Iron Pagoda ( Chinese : 鐵塔 ) of Youguo Temple ( 佑國寺 ), Kaifeng City, Henan province, is a Chinese pagoda built in 1049. The pagoda is so-named not because it is made of iron , but because its color resembles that of iron. It is a brick pagoda tower built on the location of a previous wooden one that had been burnt down by lightning fire in 1044. Along with the Liuhe , Lingxiao , Liaodi , Pizhi , and Beisi pagodas, it is seen as a masterpiece of Song dynasty architecture . Architecture [ edit ] This octagonal -base structure stands at a current height of 56.88 meters (186.56 feet), with a total of 13 stories. [ 1 ] It is a solid-core brick tower with an inner spiral stone staircase and outside openings to allow light and air flow. [ 2 ] The architectural style features densely positioned, articulated dougong in the eaves ( miyan ) and multiple stories ( louge ). [ 2 ] The exterior features more than fifty different varieties of glazed brick and 1,600 intricate and richly detailed carvings, including those of standing and sitting Buddha , standing monks, singers and flying dancers, flowers, lions, dragons and other legendary beasts as well as many fine engravings. Under the eaves are 104 bells that ring in the wind. The foundation rests in the silt of the Yellow River . [ 3 ] Inside the Iron Pagoda are frescos of the classical Chinese tales, such as The Journey to the West . [ 4 ] History [ edit ] In the Northern Song (960–1127) dynasty's capital city of Kaifeng , the famous architect Yu Hao built a magnificent wooden pagoda as part of Youguo Temple (between 965 and 995 CE.) that was considered by many of his contemporaries to be a marvel of art. [ 5 ] Unfortunately, the widely admired structure burned down in 1044 after a lightning strike. [ 5 ] Under the order of Emperor Renzong (1022–1063), a new pagoda was built in its place by 1049. The new tower was built of nonflammable brick and stone and was dubbed the 'Iron Pagoda' due its iron-grey color when viewed from afar (its bricks are in fact glazed red, brown, blue, and green). In 1847 the Yellow River overflowed its banks and the Youguo Temple collapsed, but the Iron Pagoda survived. Historically, the pagoda has experienced 38 earthquakes, six floods and many other disasters, but it remains intact after almost 1,000 years. [ 3 ] [ 6 ] In 1994, the Iron Pagoda was featured on a two- yuan Chinese postage stamp. [ 7 ] Gallery [ edit ] detail detail glazed tiles of Iron Pagoda See also [ edit ] Architecture of the Song dynasty References [ edit ]
|
|
1,050
|
79.9197°E
|
24.8530°N
|
Kandariya Mahadeva Temple
|
https://en.wikipedia.org/wiki/Kandariya_Mahadeva_Temple
| 83,695
|
India
|
Largest Hindu temple in Khajuraho temple complex, India Kandariya Mahadeva Temple Religion Affiliation Hinduism District Chhatarpur Deity Shiva (Mahadeva) Location Location Khajuraho State Madhya Pradesh Country India Shown within India Geographic coordinates 24°51′11″N 79°55′11″E / 24.8530°N 79.9197°E / 24.8530; 79.9197 Architecture Type North Indian Creator Vidyadhara Completed circa 1025-1050 CE The Kandariya Mahadeva Temple ( Devanagari : कंदारिया महादेव मंदिर, Kandāriyā Mahādeva Mandir ), meaning "the Great God of the Cave ", is the largest and most ornate Hindu temple in the medieval temple group found at Khajuraho in Madhya Pradesh, India . It is considered one of the best examples of temples preserved from the medieval period in India . Because of its outstanding preservation and testimony to the Chandela culture, the temple was inscribed on the UNESCO World Heritage List in 1986. [ 1 ] Location [ edit ] Temples layout map of Khajuraho Group of Monuments: Kandariya Mahadeva Temple is in the western group Kandariya Mahadeva Temple is located in the Chhatarpur district of Madhya Pradesh in Central India . [ 2 ] It is in the Khajuraho village, and the temple complex is spread over an area of 6 square kilometres (2.3 sq mi). [ 1 ] It is in the western part of the village to the west of the Vishnu temple. [ 3 ] [ 4 ] The temple complex, in the Khajuraho village at an elevation of 282 metres (925 ft), is well connected by road, rail and air services. Khajuraho is 55 kilometres (34 mi) to the south of Mahoba , 47 kilometres (29 mi) away from the Chhatarpur city to its east, 43 kilometres (27 mi) away from Panna , 175 kilometres (109 mi) by road away from Jhansi on the north, and 600 kilometres (370 mi) to the south - east of Delhi . It is 9 kilometres (5.6 mi) from the railway station. [ 2 ] [ 5 ] Khajuraho is served by Khajuraho Airport (IATA Code: HJR), with services to Delhi, Agra and Mumbai . It is 6 kilometres (3.7 mi) from the temple. [ 5 ] [ 6 ] History [ edit ] Khajuraho was once the capital of the Chandela dynasty. The Kandariya Mahadeva Temple, one of the best examples of temples preserved from the medieval period in India, [ 2 ] [ 7 ] is the largest of the western group of temples in the Khajuraho complex which was built by the Chandela rulers. Shiva is the chief deity in the temple deified in the sanctum sanctorum . [ 8 ] The Kandariya Mahadeva temple was built during the reign of Vidyadhara (r. c. 1003-1035 CE). [ 9 ] At various periods of the reign of this dynasty many famous temples dedicated to Vishnu, Shiva, Surya, Shakti of the Hindu religion and also for the Thirthankaras of Jain religion were built. Vidhyadhara, also known as Bida in the recordings of the Muslim historian Ibn-al-Athir was a powerful ruler who fought Mahmud of Ghazni in the first offensive launched by the latter in 1019. [ 2 ] This battle was not conclusive and Mahmud had to return to Ghazni . Mahmud again waged war against Vidhyadhara in 1022. He attacked the fort of Kalinjar . [ 2 ] The siege of the fort was unsuccessful. It was lifted and Mahmud and Vidhyadhara called a truce and parted by exchanging gifts. Vidhyadhara celebrated his success over Mahmud and other rulers by building the Kaṇḍāriyā Mahādeva Temple, dedicated to his family deity Shiva. Epigraphic inscriptions on a pilaster of the mandapa in the temple mentions the name of the builder of the temple as Virimda, which is interpreted as the pseudonym of Vidhyadhara. [ 2 ] Its construction is dated to the period between 1025 and 1050 CE. [ 4 ] All the extant temples in Khajuraho including the Kandariya Mahadeva Temple were inscribed in 1986 under the UNESCO List of World Heritage Sites under Criterion III for its artistic creation and under Criterion V for the culture of the Chandelas that was dominant until the country was invaded by Muslims in 1202. [ 1 ] [ 10 ] Features [ edit ] Various features of the temple marked on the Kandariya Mahadeva Temple. Simplified map of the temple The Kandariya Mahadeva Temple, 31 metres (102 ft) in height, is in the western complex, which is the largest among the three groups of the Khajuraho complex of temples. [ 11 ] This western group of temples, consisting of the Kandariya, Matangeshwara and Vishvanatha temples, is compared to a "cosmic design of a hexagon (a yantra or Cosmo gram)" representing the three forms of Shiva. [ 5 ] The temple architecture is an assemblage of porches and towers which terminates in a shikhara or spire, a feature which was common from the 10th century onwards in the temples of Central India. [ 11 ] The temple is founded on a massive plinth of 4 metres (13 ft) height. [ 12 ] The temple structure above the plinth is dexterously planned and pleasingly detailed. [ 13 ] The superstructure is built in a steep mountain shape or form, symbolic of Mount Meru which is said to be the mythical source of creation of the world. [ 8 ] The superstructure has richly decorated roofs which rise in a grand form terminating in the shikara, which has 84 miniature spires. [ 4 ] The temple is in layout of 6 square kilometres (2.3 sq mi), of which 22 are extant including the Kaṇḍāriyā Mahādeva Temple. This temple is characteristically built over a plan of 31 metres (102 ft) in length and 20 metres (66 ft) in width with the main tower soaring to a height of 31 metres (102 ft), and is called the "largest and grandest temple of Khajuraho". [ 1 ] [ 13 ] [ 14 ] A series of steep steps with high rise lead from the ground level to the entrance to the temple. [ 15 ] The layout of the temple is a five-part design, a commonality with the Lakshmana and Vishvanatha temples in the Khajuraho complex. Right at the entrance there is torana , a very intricately carved garland which is sculpted from a single stone; such entrances are part of a Hindu wedding procession. [ 4 ] The carvings on the entrance gate shows the "tactile quality of the stone and also the character of the symmetrical design" that is on view in the entire temple which has high relief carvings of the figurines. Finely chiseled, the decorative quality of the ornamentation with the sharp inscribed lines has "strong angular forms and brilliant dark-light patterns". The carvings are of circles, undulations giving off spirals or sprays, geometric patterns, masks of lions and other uniform designs which has created a pleasant picture that is unique to this temple, among all others in the complex. [ 13 ] The main temple tower with 84 mini spires Erotic sculptures on the external walls of the temple In the interior space from the entrance there are three mandapas or halls, which successively rise in height and width, which is inclusive of a small chamber dedicated to Shiva, a chamber where the Shiva linga, the phallic emblem of Shiva is deified. The sanctum sanctorum is surrounded by interlinked passages which also have side and front balconies. Due to inadequate natural light in the balconies the sanctum has very little light thus creating a "cave like atmosphere" which is in total contrast to the external parts of the temple. [ 4 ] [ 12 ] [ 16 ] [ 17 ] In the interior halls of the temple and on its exterior faces there are elaborately carved sculptures of gods and goddesses, musicians and apsaras or nymphs. [ 4 ] The huge pillars of the halls have architectural features of the "vine or scroll motif". In the corners of the halls there are insets which are carved on the surface with incised patterns. [ 13 ] There is a main tower above the sanctum and there are two other towers above the other mantapas also in the shape of "semi-rounded, stepped, pyramidal form with progressively greater height". The main tower is encircled by a series of interlinked towers and spires of smaller size. [ 18 ] These are in the form of a repeated subset of miniature spires that abut a central core which gives the temple an unevenly cut contour similar to the shape of a mountain range of mount Kailasa of the Himalayas where god Shiva resides, which is appropriate to the theme of the temples here. [ 17 ] The exterior surfaces of the temples are entirely covered with sculptures in three vertical layers. [ 4 ] Here, there are horizontal ribbons carved with images, which shine bright in the sun light, providing rhythmic architectural features. Among the images of gods and heavenly beings, Agni , the god of fire is prominent. [ 13 ] They are niches where erotic sculptures are fitted all round which are a major attraction among visitors. Some of these erotic sculptures are very finely carved and are in mithuna (coitus) postures with maidens flanking the couple, which is a frequently noted motif. There is also a "male figure suspended upside" in coitus posture, a kind of yogic pose, down on his head. [ 4 ] The niches also have sculptures of Saptamatrikas , the septad of mother goddesses along with the gods Ganesha and Virabhadra . The seven fearful protector goddesses include: Brahmi seated on a swan of Brahma ; Maheshwari with three eyes seated on Shiva's bull Nandi ; Kumari; Vaishnavi mounted on Garuda ; the boar-headed Varahi ; the lion-headed Narasimhi and Chamunda , the slayer of demons Chanda and Munda. [ 4 ] The image of Sardula, a mythical creature with lion face and human limbs in lower panel is a unique figure seen in the temple. [ 19 ] References [ edit ]
|
|
1,052
|
31.27611°E
|
58.52167°N
|
Cathedral of Saint Sophia, Novgorod
|
https://en.wikipedia.org/wiki/Cathedral_of_Saint_Sophia,_Novgorod
| 441
|
Russia
|
Cathedral church of the Archbishop of Novgorod and mother church of Novgorodian Eparchy Cathedral of Saint Sophia Софийский собор (in Russian) View of the cathedral from the southeast Religion Affiliation Russian Orthodox Province Diocese of Novgorod and Staraya Russa Year consecrated 1050 or 1052 Location Location Veliky Novgorod , Russia Geographic coordinates 58°31′20″N 31°16′36″E / 58.52217°N 31.27660°E / 58.52217; 31.27660 Architecture Type Church Groundbreaking 1045 Completed 1050 Specifications Height (max) 38 metres (125 ft) Dome (s) 5 UNESCO World Heritage Site Official name: Historic Monuments of Novgorod and Surroundings Type Cultural Criteria ii, iv, vi Designated 1992 (16th session ) Reference no. 604 State Party Russia Region Eastern Europe The Cathedral of Saint Sophia, the Holy Wisdom of God ( Russian : Кафедральный собор Софии Премудрости Божией ) in Veliky Novgorod , Russia, is the cathedral church of the Metropolitan of Novgorod and the mother church of the Novgorodian Eparchy . History [ edit ] The 38-metre-high, five-domed, stone cathedral was built by Vladimir of Novgorod and Bishop Luka Zhidiata between 1045 and 1050 to replace an oaken cathedral built by Bishop Ioakim Korsunianin in the late tenth century. [ 1 ] This makes it the oldest church building in Russia outside the Caucasus ( Tkhaba-Yerdy in Ingushetia dates from before the 8th century) and the oldest building of any kind still in use in the country, with the exception of the Arkhyz and Shoana churches. It was consecrated by Bishop Luka Zhidiata (1035–1060) on September 14, in 1050 or 1052, the feast of the Exaltation of the Cross . (A fresco just inside the south entrance depicts Sts. Constantine and Helena, who found the true cross in the fourth century; it is one of the oldest works of art in the cathedral and is thought to commemorate its dedication.) [ 2 ] While it is commonly known as St. Sophia's, it is not named for any of the female saints of that name (i.e., Sophia of Rome or Sophia the Martyr ); rather, the name comes from the Greek word for wisdom ( σοφία , from whence we get words like philo sophia or philosophy—"the love of wisdom"), and thus Novgorod's cathedral is dedicated to the Holy Wisdom of God, in imitation of the Hagia Sophia cathedral of Constantinople . Holy Wisdom is a reference to Christ. The main, golden cupola, was gilded by Archbishop Ioann (1388–1415) in 1408. The sixth (and the largest) dome crowns a tower which leads to the upper galleries. In medieval times these were said to hold the Novgorodian treasury and there was a library there, said to have been started by Yaroslav the Wise . When the library was moved to the St. Petersburg Spiritual Academy in 1859, it numbered more than 1,500 volumes, some dating back to the 13th century. The current archbishop, Lev , [ 3 ] has reestablished a library there, in keeping with the ancient tradition. As of 2004, it housed some 5,000 volumes. [ 4 ] A Sunday school is also held in the gallery. [ 5 ] Inside the church is Our Lady of the Sign , an icon credited with saving Novgorod from Andrei Bogolyubsky 's troops in 1170 The cupolas are thought to have acquired their present helmet-like shape in the 1150s, when the cathedral was restored after a fire. The interior was painted in 1108 at the behest of Bishop Nikita (1096–1108), although the project was not undertaken until shortly after his death. Archbishop Nifont (1130–1156) had the exterior whitewashed and had the Martirievskii and Pretechenskaia porches ( papter' , [ what language is this? ] more akin to side chapels) painted sometime during his tenure, but those frescoes are hardly visible now because of frequent fires. In the 1860s, parts of the interior had to be repainted and most of the current frescoes are from the 1890s. [ 5 ] A white stone belltower in five bays was built by Archbishop Evfimy II (1429–1458), the greatest architectural patron to ever hold the archiepiscopal office. He also had the Palace of Facets built just northwest of the cathedral in 1433. The nearby clocktower was initially completed under his patronage as well, but fell down in the seventeenth century and was restored in 1673. From the 12th to the 15th century, the cathedral was a ceremonial and spiritual centre of the Novgorod Republic , which sprawled from the Baltic Sea to the Ural Mountains , and came to symbolize the city itself, with chronicle references to the Novgordians being willing "to lay down their heads for Holy Wisdom" or "to die honorably for Holy Wisdom." [ 6 ] When one prince angered them, they told him "we have no prince, only God, the Truth, and Holy Wisdom." [ 7 ] On another occasion, they made the cathedral the symbol of the city itself, saying "Where Holy Wisdom is, there is Novgorod." [ 8 ] An 11th-century fresco on the wall The House of Holy Wisdom ( Дом святой Софии / Dom svyatoy Sofii ) was one of the largest landowners in the Novgorod Land. Its possessions were spread across all parts of Novgorod land and outside of it. In the 16th century the House had its own court in Moscow and by the second half of 17th century it also owned 41 monasteries with their land and peasants. The bishop (later, archbishop) headed the House of Holy Wisdom. He was assisted by the head of the chancellery ( d'yak ) and treasurer and about 100 other staff who included scribes, bookbinders, icon painters and silversmiths. [ 9 ] The cathedral has long been the city's great necropolis, the burial place of 47 people of prominence in the city's history, including several princes and posadniks and 32 bishops, archbishops, and metropolitans of Novgorod. The first burial there was Prince Vladimir himself in 1052. The first bishop was Luka Zhidiata in 1060. The last burial in the cathedral was Metropolitan Gurii in 1912. Most of the burials are below the floor in the Martirievskaia Porch, on the south side of the cathedral, named for Bishop Martirii (1193–1199). Later burials took place (again below the floor) in the Pretechenskaia Papter' on the north side of the cathedral. Today, there are several burials in the main body of the church. The sarcophagi of Prince Vladimir and Princess Anna overlook the Martirievskaia Porch; Archbishop Ilya (also known as Ioann) (1165–1186) is buried in the northwestern corner of the main body of the church, next to the Pretechenskaia Porch. Bishop Nikita lies in a glass-covered sarcaphogus between the chapels of the Nativity of the Mother of God and Sts. Ioakim and Anne and the sarcophagus is opened on his feast days (January 30, the day of his death and April 30/May 13, the day of the "uncovering of his relics," i.e., when his tomb was opened in 1558) so the faithful can venerate his relics. Two other princes also lie in the main body of the cathedral and in the Chapel of the Nativity of the Mother of God. [ 10 ] The Cathedral of Holy Wisdom in 1900 Millennium of Russia and the Cathedral of Holy Wisdom on a 5-ruble bill The Cross of Novgorod, found at the Cathedral The cathedral was looted by Ivan the Terrible in the 1570s but restored by Archbishop Leonid (1572–1575). He built the Tsar's Pew which stands just inside the south entrance of the main body of the cathedral near the Martirievskii Porch. Leonid also had several large chandeliers hung in the cathedral, but only one of them survives. [ 5 ] Beginning in the eighteenth century, the archbishops or metropolitans of Novgorod lived in St. Petersburg (they were known as archbishops or metropolitans of Novgorod and St. Petersburg). Thus, while Novgorod technically still had a prelate, he was not often active in the city itself, and the church in the city was administered by a vicar bishop for much of the time. Twelve metropolitans of Novgorod and St. Petersburg (or Leningrad) are buried in the Alexander Nevsky Lavra in St. Petersburg, rather than in the Cathedral of Holy Wisdom. During the Nazi occupation of Novgorod, the Kremlin was heavily damaged from the battles and from the Nazi abuse. However, the cathedral itself survived. The large cross on the main dome (which has a metal bird attached to it, perhaps symbolic of the Holy Spirit in the form of a dove) was removed by Spanish infantry . For over 60 years it resided in the Madrid 's Military Engineering Academy Museum, until November 16, 2004, when it was handed over back to the Russian Orthodox Church by the Spanish brothers Miguel Ángel and Fernando Garrido Polonio who discovered the Cross in a military camp in Madrid. The domes were heavily damaged in the war, and the large Christ Pantocrator in the dome was ruined. According to legend, the painters painted him with a clenched fist. The archbishop told them to repaint Christ with an open palm, and when they returned the next morning, the hand was miraculously clenched again. After repeated efforts, a voice from the dome is said to have told the archbishop to leave the painting alone for as long as Christ's fist remained closed, he would hold the fate of Novgorod in his hand. [ 11 ] During the Soviet period, the cathedral was a museum. It was returned to the Russian Orthodox Church in 1991. An inscription on the north wall of the west entrance attests to its rededication by Bishop Lev and Patriarch Alexius II . Features [ edit ] Detail of a portion of the Płock, Sigtuna or Magdeburg Gates at the West Entrance to the cathedral Novgorod's St. Sophia was the first Slavic church in which local divergences from Byzantine pattern were made so evident. With its austere walls, narrow windows, the church is redolent of Romanesque architecture of Western Europe, rather than of Greek churches built at that time. The Novgorod cathedral also differs strikingly from its namesake and contemporary in Kyiv . As one art historian put it, the Kyiv cathedral is a bride, whereas the Novgorod cathedral is a warrior. Its decoration is minimal, the use of brick is limited, and the masses are arranged vertically rather than horizontally. These features proved to be influential with Novgorod masters of the next generation, as the Yuriev Monastery Cathedral (1119) and the Antoniev Monastery Cathedral (1117) clearly show. Icons [ edit ] The oldest icon in the cathedral is probably the Icon of the Mother of God of the Sign , which according to legend miraculously saved Novgorod in 1169 when the Suzdalians attacked the city; it was brought out of the Church of the Transfiguration on Il'ina Street and displayed in the cathedral and on the walls of the city by Archbishop Ilya . The Church of the Icon Mother of God of the Sign was built next to the Church of the Transfiguration in the seventeenth century to house the icon. During the Soviet period, it was housed in the nearby Novgorod Museum (as were the bones of Bishop Nikita, said to have been kept in a paper bag until they were transferred to the Church of Sts. Philip and Nicholas in 1957); the icon was returned to the cathedral in the early 1990s and stands just to the right of the Golden Doors of the iconostasis. The icon of Sophia, the Holy Wisdom of God, is also quite old and is part of the iconostasis just to the right of the Golden Doors as well (where the icon of the saint to which the church is dedicated usually hangs). Several icons were said to have been painted or commissioned by Archbishop Vasilii Kalika (1330–1352) and Archbishop Iona (1458–1470) and Archbishop Makarii (1526–1542) (he went on to become Metropolitan of Moscow and All Rus') is said to have painted the icons in the small iconostasis in the Chapel of the Nativity of the Mother of God (the iconostasis originally stood in the Chapel of Sts. Ioakim and Anne, just to the left of its present location. [ 5 ] One of the 11th-century Korsun icons kept in Saint Sophia Cathedral until the Russian Revolution (236 × 147 cm) Gates [ edit ] Three famous sets of gates adorned the cathedral over the centuries; they are known as the Korsun, Vasilii, and Sigtuna (or Płock, or Magdeburg) Gates. The Korsun Gates hang at the western entrance to the Chapel of the Nativity of the Mother of God at the southeast corner of the cathedral. They were said to have been brought to Novgorod by Bishop Ioakim Korsunianin, whose name indicates ties to Korsun in Crimea . The Vasilii Gates, were donated to the cathedral in 1335 by Archbishop Vasilii Kalika and were taken by Tsar Ivan IV to his residence in Alexandrov near Moscow following the looting of the cathedral in 1570, where they still may be seen. They influenced artwork in the Moscow Kremlin executed under Ivan the Terrible. [ 12 ] The doors at the west entrance (intended to be the main entrance to the cathedral, although the main one is now the northern entrance), called the Sigtuna, Magdeburg or Płock Gates, are said to have been looted by Novgorodian forces from the Swedish town of Sigtuna in 1187. In fact, they were most probably wrought and sculptured by Magdeburg masters, most likely in years 1152–1154, for the Archbishop of Płock in Poland (where they were decorating one of the entrances into the Cathedral in Płock for around 250 years [ 13 ] ). The gates were acquired by the Novgorodians most probably in the end of the 15th century, probably by Archbishop Evfimii II, who loved Western art (as can be seen in the Gothic style incorporated into the Palace of Facets) or—according to another theory—in the first half of the 15th century [ 14 ] by prince of Novgorod and brother of the Polish king, Simeon Lingwen . [ 15 ] It is not known precisely how the Novgorodians acquired the Płock Gates—most probably they were a gift from Archbishops of Płock or the dukes of Mazovia for the brother of Polish-Lithuanian King Władysław Jagiełło , Lithuanian Duke Lengvenis , or for Archbishop Evfimii II. There is also another theory that the gates had been looted from the cathedral in Płock by pagan Lithuanians in the thirteenth century, and later somehow made their way to Novgorod. The first theory is considered the most likely. The Magdeburg or Płock Gates (sometimes also wrongly called the Sigtuna Gates) are opened only twice a year for special occasions, although some reports say that they are opened when the archbishop himself leads the Divine Liturgy . Since 1982, copies of the Gates, a gift from Novgorod, hang in the Cathedral in Płock. Pigeon [ edit ] A figure of pigeon—the symbol of the Holy Spirit—crowns the cross on the main dome of the cathedral. According to a local legend, a live pigeon sitting on the dome froze out of terror seeing the Massacre of Novgorod . In the 18th century the cathedral's treasury included a gold-plated silver pigeon. The dome and the figure were destroyed during the Nazi occupation of Novgorod and then restored after the war. The original figure was returned to Novgorod in 2005 by former members of the Blue Division who fought in Novgorod. [ 16 ] See also [ edit ] Saint Sophia Cathedral, Kyiv Saint Sophia Cathedral in Polotsk Hagia Sophia References [ edit ] Wikimedia Commons has media related to Saint Sophia Cathedral in Novgorod .
|
|
1,056
|
2.1920845°W
|
51.966879°N
|
Odda's Chapel
|
https://en.wikipedia.org/wiki/Odda%27s_Chapel
| 3,085
|
United Kingdom
|
Church in England, UK Odda's Chapel Chapel of the Holy Trinity Odda's Chapel (left) and Abbot's Court (right) Odda's Chapel 51°58′01″N 2°11′32″W / 51.966879°N 2.1920845°W / 51.966879; -2.1920845 OS grid reference SO86902984 Location Deerhurst , Gloucestershire Country England , UK Denomination Roman Catholic Website Odda's Chapel History Status chantry Founder(s) Earl Odda Dedication Holy Trinity Consecrated 12 April 1056 ( 1056-04-12 ) Associated people Ælfric Architecture Functional status disused Heritage designation Grade I listed Designated 4 July 1960 Style Anglo-Saxon Years built 11th century Completed 1056 Specifications Materials rubble masonry with squared quoins Odda's Chapel is a former chantry chapel at Deerhurst , Gloucestershire . It is an 11th-century late Anglo-Saxon building, completed a decade before the Norman Conquest of England . In the 16th century the chapel ceased to be used for worship and by the 17th century it was part of a farmhouse. It was rediscovered and restored late in the 19th century, and further restored in the 20th century. It is now managed by English Heritage . The chapel is the smaller of two Anglo-Saxon places of worship in Deerhurst. The larger and older is St Mary's Priory Church . Both buildings were part of a Benedictine priory , whose site is now a scheduled monument . [ 1 ] Architecture [ edit ] The building has a nave and chancel , linked by a Romanesque chancel arch. A smaller Romanesque arch forms a doorway on the north side of the chapel. The nave has small windows high in the north and south walls. [ 2 ] History [ edit ] Earl Odda had the chapel built for the benefit of the soul of his brother Ælfric, who died on 22 December 1053. Ealdred , Bishop of Worcester consecrated it on 12 April 1056. [ 2 ] [ 3 ] Secularisation [ edit ] As a consequence of the English Reformation , it would have no longer been possible to use the building for its original purpose. In the 1540s Kings Henry VIII and Edward VI abolished chantries . Late in the 16th or early in the 17th century the chapel building was re-used as part of a timber-framed farmhouse, Abbot's Court, which was built against its east wall. [ 4 ] The nave was converted into a kitchen. [ 3 ] A first floor was inserted in the chancel. Three- and four-light domestic windows were inserted in the north and south walls of the chancel. [ 2 ] In time the building's true age and its identity as a chapel were forgotten. Odda's Stone [ edit ] Main article: Odda's Dedication Stone Dedication stone set up by Earl Odda , dated 1056, now in the Ashmolean Museum , Oxford In 1675 Sir John Powell , a local landowner, discovered a stone slab near Deerhurst. Powell was a judge and would have been sufficiently educated to be able to decipher the slab's 11th-century Latin inscription concerning the dedication of the chapel. [ 5 ] However, the chapel itself remained unidentified. The inscription translates: "Earl Odda ordered this royal hall to be built and dedicated in honour of the Holy Trinity for the soul of his brother Ælfric, taken up from this place. Ealdred was the bishop who dedicated the building on the second day before Ides of April in the fourteenth year of the reign of Edward, king of the English ". [ 5 ] "Odda's Stone" is now in the Ashmolean Museum , Oxford, [ 5 ] and there is a replica in the chapel. Chancel arch seen from the nave Discovery and restoration [ edit ] In 1865 the then Vicar of St Mary's parish church, Deerhurst, Rev. George Butterworth, deduced from a chronicle of Tewkesbury Abbey and from the existence of Odda's Stone that there had been a chantry chapel in Deerhurst. [ 5 ] In 1885 during repairs to Abbot's Court a blocked Anglo-Saxon window was discovered hidden behind plaster. [ 3 ] In 1960 the Ministry of Works made the chapel a Grade I listed building . In 1965 the chapel was "disentangled" from Abbot's Court farmhouse [ 2 ] [ 3 ] and restoration of its roof was begun. Early photographs show that although the main part of the roof is 17th century there was an earlier design of 11th-12th century date which may be part of the original roof. [ 6 ] There have been a number of archaeological excavations at Deerhurst since the 1970s. Items from the 1981 excavation led by Philip Rahtz are in Tewkesbury Museum . [ 7 ] North doorway to the nave References [ edit ]
|
|
1,059
|
28.9440000°E
|
41.0386000°N
|
Atik Mustafa Pasha Mosque
|
https://en.wikipedia.org/wiki/Atik_Mustafa_Pasha_Mosque
| 3,828
|
Unknown
|
Mosque in Istanbul, Turkey Atik Mustafa Pasha Mosque Atik Mustafa Paşa Camii The mosque viewed from southeast in a drawing of 1877, from A.G. Paspates' Byzantine topographical studies Religion Affiliation Sunni Islam Year consecrated Between 1509 and 1512 Location Location Istanbul , Turkey Location in the Fatih district of Istanbul Geographic coordinates 41°02′18.96″N 28°56′38.40″E / 41.0386000°N 28.9440000°E / 41.0386000; 28.9440000 Architecture Type church with Greek cross plan Style Byzantine Completed 1059 Specifications Minaret (s) 1 Materials brick , stone Atik Mustafa Pasha Mosque ( Turkish : Atik Mustafa Paşa Camii ; more commonly known as Hazreti Cabir Camii ) is a former Eastern Orthodox church in Istanbul , converted into a mosque by the Ottomans . In Çember Sokak in the neighbourhood of Ayvansaray , in the district of Fatih , Istanbul, it lies just inside the walled city at a short distance from the Golden Horn , at the foot of the sixth hill of Constantinople . The dedication of the church is obscure. For a long time it has been identified with the church of Saints Peter and Mark, but without any proof. Now it seems more probable that the church is to be identified with Saint Thekla of the Palace of Blachernae ( Greek : Άγία Θέκλα τοῦ Παλατίου τῶν Βλαχερνών , Hagia Thekla tou Palatiou tōn Vlakhernōn ). [ 1 ] Stylistically, it belongs to the eleventh or twelfth century. The Apse of the building History [ edit ] Towards the middle of the ninth century, Princess Thekla , the eldest daughter of Emperor Theophilus enlarged a small oratory, dedicated to her patron saint and namesake, lying 150 metres (490 feet) east of the Church of Theotokos of the Blachernae . [ 2 ] In 1059 Emperor Isaac I Komnenos built a larger church on this site, as thanks for surviving a hunting accident. [ 3 ] The church was famous for its beauty, and Anna Comnena writes that her mother, Anna Dalassena , frequently used to pray there. [ 3 ] After the Ottoman conquest of Constantinople , the building was heavily damaged during the earthquake of 1509 , which destroyed the dome. [ 4 ] Shortly after that, Kapicibaşi [ 5 ] (and later Grand Vizier ) Koca Mustafa Pasha [ 6 ] repaired the damage and converted the church into a mosque. [ 7 ] Up to the end of the nineteenth century, a hamam , 150 metres (490 feet) south of the building, formed part of the mosque's foundation . [ 2 ] In 1692, Şatir Hasan Ağa built a fountain in front of the mosque. [ 2 ] In 1729, during the great Fire of Balat , the building was heavily damaged and had to be repaired. It was damaged again during the 1894 Istanbul earthquake , which destroyed the minaret , and didn't reopen for worship until 1906. A last restoration occurred in 1922. [ 2 ] At that time, a cruciform marble baptismal font found across the street was removed to the Istanbul Archaeology Museum . [ 2 ] Inside the apse of the building is a türbe (tomb) attributed to Hazreti Cabir (Jabir) Ibn Abdallah-ül-Ensamı, one of the companions of Eyüp , [ 8 ] who fell nearby in 678 during the first Arab siege of Constantinople . [ 9 ] Architecture [ edit ] The alleged türbe (tomb) of Hazreti Cabir (Jabir) in the south apse. The building is 15 metres (49 feet) wide and 17.5 metres (57 feet) long, and has a domed Greek cross plan. It is oriented in a northeast–southwest direction. It has three polygonal apses, and the narthex has been destroyed. [ 10 ] There are no galleries, and the dome, which has no drum, is almost certainly Ottoman, although the arches and the piers which support it are Byzantine. [ 11 ] The arms of the cross, the Pastophoria , the Prothesis and Diaconicon , are covered with barrel vaults , and joined by arches. The north and south walls have three arcades at floor level, three windows at the first level and a window with three lights at the second level. [ 11 ] On the southeast side, each of the three apses is three-sided. [ 11 ] The roof, the cornice and the wooden narthex, which replaced the old Byzantine narthex, are Ottoman. The dome piers, which form the internal side of the cross, are L-shaped in an example of the stage preceding that of the cross-in-square church with four columns. [ 11 ] Details of the frescoes on the south side of the building have been published. [ 12 ] During floor renewal in the 1990s, several tesserae were found, revealing the previous existence of mosaics panels n the building. [ 13 ] Despite its architectural significance, the building has never undergone a systematic study. [ 14 ] Gallery [ edit ] Atik Mustafa Pasha Mosque Exterior Atik Mustafa Pasha Mosque Facade detail Atik Mustafa Pasha Mosque Decoration Atik Mustafa Pasha Mosque Interior Atik Mustafa Pasha Mosque 6189 Atik Mustafa Pasha Mosque 4764 Atik Mustafa Pasha Mosque Türbe References [ edit ]
|
|
1,062
|
141.1640611°E
|
39.6953083°N
|
Morioka Hachimangū
|
https://en.wikipedia.org/wiki/Morioka_Hachimang%C5%AB
| 1,283
|
Japan
|
Morioka Hachiman Shrine 盛岡八幡宮 Morioka Hachimangu Honden Religion Affiliation Shinto Deity Hachiman Festival September 15 Type Hachiman Shrine Location Location Yawata-cho 13-2, Morioka, Iwate Shown within Japan Geographic coordinates 39°41′43.11″N 141°09′50.62″E / 39.6953083°N 141.1640611°E / 39.6953083; 141.1640611 Architecture Style Hachiman-zukuri Date established 1062 Website www .morioka8man .jp Glossary of Shinto Morioka Hachimangū ( 盛岡八幡宮 ) is a Shinto shrine in the city of Morioka, Iwate in northern Japan . The shrine is noted for its annual festival on the second Saturday in June, which is famous for the Chagu Chagu Umakko , a horse parade which was recognized in 1978 as an Intangible Folk Cultural Property . [ 1 ] In 1996 the sound of the bells of the Chagu Chagu Umakko was selected by the Ministry of the Environment as one of the 100 Soundscapes of Japan . [ 2 ] The shrine is also noted for its displays of yabusame horse archery during its annual festival on September 15. History [ edit ] The Morioka Hachimangū was established in 1062 during the late Heian period when Minamoto no Yoriyoshi brought a bunrei of the Minamoto clan ’s tutelary shrine, the Iwashimizu Hachimangū in Kyoto to pray for victory in his campaign against the Abe clan in the Former Nine Years War . It was originally called the Hatomori Hachimangū ( 鳩森八幡宮 ) . The shrine was rebuilt in 1593 by the Nanbu clan to be the protective shrine for Morioka Castle . Under the State Shinto system of shrine ranking from 1871 through 1946, the Morioka Hachimangū was officially designated as a "prefectural shrine". The Edo-period shrine structures burned down in 1884. The present main structure dates from 2006. Shinto belief [ edit ] The shrine is dedicated to the veneration of the Shinto kami Hachiman . Hachiman has been recognized as an amalgamation of the semi-legendary Emperor Ojin and his consort, Empress Jingū . [ 3 ] See also [ edit ] List of Shinto shrines Modern system of ranked Shinto Shrines References [ edit ] Breen, John and Mark Teeuwen . (2000). Shinto in History: Ways of the Kami. Honolulu: University of Hawaii Press . ISBN 978-0-8248-2362-7 ; OCLC 43487317 Ponsonby-Fane, Richard . (1959). The Imperial House of Japan. Kyoto: Ponsonby Memorial Society. OCLC 194887 Ponsonby-Fane, Richard . (1962). Studies in Shinto and Shrines. Kyoto: Ponsonby Memorial Society. OCLC 399449 External links [ edit ] Wikimedia Commons has media related to Morioka-Hachimangū . Official website (in Japanese) Notes [ edit ]
|
|
1,063
|
116.97806°E
|
36.36278°N
|
Lingyan Temple (Jinan)
|
https://en.wikipedia.org/wiki/Lingyan_Temple_(Jinan)
| 1,510
|
China
|
Buddhist temple in Jinan, China Not to be confused with Lingyin Temple . The Qiānfó-diàn (Thousand Buddha Hall) enshrines Ming dynasty statues of Vairocana (center), Amitabha (left) and Bhaisajyaguru (right). The projecting tongues from Vairocana's "puffball" throne are petals that symbolize his radiance in infinite directions. Lingyan Temple ( simplified Chinese : 灵 岩 寺 ; traditional Chinese : 靈 巖 寺 ; pinyin : Língyán Sì ; lit. 'Temple of the Spiritual Rocks') is a Buddhist temple located in Changqing District , Jinan , Shandong Province, China , about 20 kilometres (12 mi) north of the city of Tai'an . [ 1 ] The temple grounds are situated in a valley on the western edge of the Taishan range . The Lingyan Temple has a long recorded history , and was one of the main temples in China during the times of the Tang and Song Dynasties. Its most renowned landmarks are the 11th century Pìzhī-tǎ (辟支塔; "Pizhi Pagoda") and the Qiānfó-diàn (千佛殿, "Thousand Buddha Hall") which houses a Ming dynasty bronze Buddha statue as well as 40 painted clay statues of life-size luohan from the Song dynasty . [ 2 ] History [ edit ] The original temple was established in the Yongxing reign period (357–358), during the reign of Fú Jiān (r. 357–385) of the Former Qin state. Gaining a greater reputation during the Northern Wei (386–534), the temple reached its apex of importance during the Tang dynasty (618–907) and Song dynasty (960–1279). There were over 40 different wooden temple halls located at the temple, composing more than 500 monastic rooms. [ 3 ] More than 500 Buddhist monks lived at Lingyan Temple during its height. [ 1 ] The oldest structures at the site are the various stone stupas and square-based stone Chinese pagoda in the pavilion style from the Tang dynasty, the 8th century Huichong Pagoda. Of the 167 stone stupas at the temple, no two are identical, and like the luohan statues of the Qiānfó-diàn, have been well preserved. [ 2 ] The tallest structure of the temple is the 54 m (177 ft) tall Pìzhī-tǎ, built originally in 753, although the present structure was built from 1056 to 1063. [ 3 ] [ 4 ] Although the wooden halls were all reconstructed during the Ming dynasty (1368–1644) and Qing dynasty (1644–1912), the stone pedestals at the base of the pillars in the Qiānfó-diàn are the original work of the Tang and Song eras. [ 3 ] Gallery [ edit ] The exterior of the Qiānfó-diàn (Thousand Buddha Hall) of Lingyan Temple. Notice the elaborate dougong brackets supporting the pent, shingled roof. Some of the 167 stupas in the stupa forest at Lingyan, some as old as the Tang dynasty (618 - 907) while some date as late as the Qing dynasty (1644 - 1911). This squared stupa (742-755 AD, Tang dynasty ) marks the burial of monk Hui Chong, who led the monastery during his lifetime. The corners of the pagoda display dour guardian telamons such as this, that symbolically hold up the entire structure From a cliffside of nearby Mount Tai , a view onto Lingyan Temple and Pìzhī-tǎ (Pizhi Pagoda) See also [ edit ] Architecture of the Song dynasty List of sites in Jinan Cassock Spring Notes [ edit ]
|
|
1,063
|
139.6397°E
|
35.6824°N
|
Ōmiya Hachimangū (Tokyo)
|
https://en.wikipedia.org/wiki/%C5%8Cmiya_Hachimang%C5%AB_(Tokyo)
| 719
|
Japan
|
Shrine in Tokyo, Japan You can help expand this article with text translated from the corresponding article in Japanese . (December 2021) Click [show] for important translation instructions. View a machine-translated version of the Japanese article. Machine translation, like DeepL or Google Translate , is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Consider adding a topic to this template: there are already 1,457 articles in the main category , and specifying |topic= will aid in categorization. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Japanese Wikipedia article at [[:ja:大宮八幡宮 (杉並区)]]; see its history for attribution. You may also add the template {{Translated|ja|大宮八幡宮 (杉並区)}} to the talk page . For more guidance, see Wikipedia:Translation . Ōmiya Hachimangū 大宮八幡宮 Religion Affiliation Shinto Festival September 15 Location Location Suginami, Tokyo , Japan Geographic coordinates 35°40′57″N 139°38′23″E / 35.6824°N 139.6397°E / 35.6824; 139.6397 Glossary of Shinto Ōmiya Hachiman Shrine ( 大宮八幡宮 , Ōmiya Hachimangū ) is a Shinto shrine located in Suginami, Tokyo , Japan. It is a Hachiman shrine , dedicated to the kami Hachiman . It was established in 1063. Its main festival is held annually on September 15. Kami enshrined here include Emperor Ōjin , Empress Jingū and Emperor Chūai in addition to Hachiman. See also [ edit ] Hachiman shrine Ōmiya Hachiman Shrine (Hyōgo) External links [ edit ] Official website v t e Shinto shrines Shinto architecture Buildings chōzu or temizu Haiden Heiden hokora honden / shinden / shōden kagura-den setsumatsusha Architectonic elements Chinjusha chigi hidden roof kaerumata: see nakazonae kairō karahafu karamon katōmado katsuogi kitsune (fox) komainu mon nakazonae shinboku shōrō sōrin tamagaki tokyō torii tōrō Styles hirairi-zukuri tsumairi-zukuri hachiman-zukuri hiyoshi-zukuri irimoya-zukuri ishi-no-ma-zukuri kasuga-zukuri kibitsu-zukuri misedana-zukuri nagare-zukuri ōtori-zukuri owari-zukuri ryōnagare-zukuri shinmei-zukuri sumiyoshi-zukuri taisha-zukuri Decorations Sandō Saisen Tomoe Shimenawa Others Implements An Chōzubachi Chōzuya Hakama Himorogi Jōe Kagura suzu O-miki Ō-nusa Gohei Sanbo Shide Shinsen Suzu Tamagushi Masakaki Washi Head shrines 1 Fushimi Inari Taisha Inari Ōkami Inari shrine Usa Hachiman-gū Hachiman Hachiman Shrine Ise Grand Shrine Amaterasu Jingūkyō Jingu Taima Shinmei shrines Dazaifu Tenman-gū Tenjin Tenmangū Munakata Taisha daughters of Amaterasu Suwa Taisha Takeminakata Yasakatome Kotoshironushi Hiyoshi Taisha Ōkuninushi Oyamakui no Kami Sannō torii Sannō Ichijitsu Shintō Kumano Nachi Taisha Kumano Kodō Kumano Sanzan Tsushima Shrine Gion cult Yasaka Shrine Gion cult Tutelary deities Ujigami Chinjugami Garanshin Dōsojin Jinushigami Yama-no-Kami Oyagami Sorei Ubusunagami Kunitama Yorishiro and Shintai Mirrors Shinboku (trees) Chinju no Mori (forests) Iwakura (rocks) Meoto Iwa Kannabi (locations) Katashiro (dolls) Kadomatsu Bunrei and Kanjō (propagation) Ofuda Jingu Taima Omamori Senjafuda Arahitogami Mikoshi Matsuri float Shinko-shiki Staff Kannushi Miko Miscellaneous A-un Kanjo Nawa Junrei Misaki Miyamairi Shinshi Classification Twenty-Two Shrines Gokoku Shrines Beppyo Shrines Shinkai (divine rank) Modern system of ranked Shinto shrines Engishiki Jinmyocho Chinjusha Setsumatsusha Hokora Buddhist elements jingū-ji miyadera Whale mounds Kamidana Mitamaya Sōja shrine History Shrine Parishioner Registration Secular Shrine Theory Shrine Consolidation Policy Shrine Shinto Misc practices for visitors Ō-mikuji Shuin Ema Institutions Jinja Honchō Rites Futomani Harae Kagura Misogi Hakushu Two bows, two claps, one bow Jichinsai 1 (in order of the size of the shrine network they head) This article relating to Shinto is a stub . You can help Wikipedia by expanding it . v t e v t e Hachiman shrines Gods Main deities Hachiman Emperor Ōjin Minor gods Emperor Chūai Empress Jingū Takenouchi no Sukune Nakatsuhime Minamoto no Yoshiie Places Three Major Hachiman Shrines of Japan ( 三 大 八幡 宮 ) ‡not always included Usa Jingū Iwashimizu Hachimangū Hakozaki Shrine ‡ Tsurugaoka Hachimangū ‡ Other shrines Fukuyama Hachimangū Hakodate Hachiman Shrine Hatogamine Hachiman Shrine Iino Hachimangū Kameyama Hachimangū Kotohiki Hachimangū Miyake Hachimangū Morioka Hachimangū Ōsaki Hachimangū Shiraoi Hachiman Shrine Shiroyama Hachimangū Suda Hachiman Shrine Tomioka Hachiman Shrine Tamukeyama Hachiman Shrine Tsuboi Hachimangū Umi Hachiman-gū Ōmiya Hachimangū (Tokyo) Ōmiya Hachiman Shrine (Hyōgo) Ōshio Hachiman Shrine Sapporo Hachimangū Shikaumi Shrine Saipan Hachiman Shrine Kōzu-gū Ikime Shrine Miscellaneous Kōra taisha Mount Hachimantai Jōten-ji Kaijin Shrine Shrines dedicated to empress Jingū Furogu Shrine Fuyo Jingū Kashii-gū Kehi Shrine Kotohiki Hachimangū Miyajidake Shrine Moto-Sumiyoshi Shrine Mukuhashi Sōja [ ja ] Shikaumi Shrine Suda Hachiman Shrine Sumiyoshi sanjin Sumiyoshi Shrine (Fukuoka) Sumiyoshi Shrine (Shimonoseki) Sumiyoshi-taisha Tsuboi Hachimangū Umi Hachiman-gū Kōzu-gū Yagi Shrine [ ja ]
|
|
1,064
|
13.571028°E
|
42.855722°N
|
San Tommaso, Ascoli Piceno
|
https://en.wikipedia.org/wiki/San_Tommaso,_Ascoli_Piceno
| 179
|
Italy
|
Roman Catholic church in Marche, Italy Church of San Tommaso Apostolo of Ascoli Piceno. San Tommaso Apostolo is a Romanesque and Gothic -style, Roman Catholic church located in the town of Ascoli Piceno in the region of Marche , Italy. History [ edit ] Construction of the church was spurred circa 1064 by Bishop Bernardo II. The simple façade built with travertine blocks has three naves, with a tympanum with a rose window. To the right, rises a bell-tower (1283) with a square base. The church has a basilica layout with the naves and aisles separated by sturdy pilasters, and includes spolia from the former Roman amphitheater of the first century BC, which had been located in the piazza in front of the church. Many of the nave pilasters are frescoed. Frescoes depict a Madonna del Latte (14th century) by the Maestro di Offida and an Enthroned Madonna and Child (1298). A number of the lateral altars were erected in the 18th century using travertine marble. The main altar has a gilded wood tabernacle from the 16th century shaped like an octagonal ciborium . The church houses a marble sculptural group (17th-century) depicting a Madonna and Child with St Thomas the Apostle and St John the Evangelist sculpted by Lazzaro and Giuseppe Giosafatti . [ 1 ] References [ edit ]
|
|
1,067
|
0.819167°E
|
49.431944°N
|
Jumièges Abbey
|
https://en.wikipedia.org/wiki/Jumi%C3%A8ges_Abbey
| 9,690
|
France
|
Abbey located in Seine-Maritime, in France Jumièges Abbey ruins Jumièges Abbey Jumièges Abbey, as painted by John Sell Cotman in 1818 Jumièges Abbey ( Latin : Monasterium Gemeticensis ), [ 1 ] [ 2 ] formally the Abbey of St Peter at Jumièges ( French : Abbaye Saint-Pierre de Jumièges ), was a Benedictine monastery. Its ruins are situated in the commune of Jumièges in the Seine-Maritime Departement of Normandy , France . History [ edit ] Around 654 [ 3 ] the abbey was founded on a gift of forested land belonging to the royal fisc presented by Clovis II and his queen, Balthild , to the Frankish nobleman Filibertus , [ 4 ] who had been the companion of Saints Ouen and Wandrille at the Merovingian court of Dagobert I . Philibert became the first abbot, and Balthild's generosity added "many gifts and pastures from the royal fisc" [ 5 ] but he was later obliged to leave Jumièges through the jealousy of certain enemies, and spent a period of exile from Neustria at the court of Bishop Ansoald of Poitiers ; [ 6 ] afterwards he founded monasteries at Pavilly , Montivilliers and Noirmoutier , [ 7 ] where he died in about 685. Among those inspired by his example was the Irish monk Sidonius , who founded the monastery at Saint-Saëns . Under the second abbot, Saint Achard , Jumièges prospered and soon numbered nearly a thousand monks. Starting in 788, Charlemagne kept Tassilo III , the recently dethroned Agilolfing Duke of Bavaria and one of his sons (and thus a possibly dangerous avenger and successor), Theodo , arrested in the abbey. In the ninth century it was pillaged and burnt to the ground by the Vikings, but was rebuilt on a grander scale by William Longespee, Duke of Normandy (d. 942). [ 8 ] A new church was consecrated in 1067 in the presence of William the Conqueror . Enjoying the patronage of the dukes of Normandy , the abbey became a great centre of religion and learning, its schools producing, amongst many other scholars, the national historian, William of Jumièges . It reached the zenith of its fame about the eleventh century, and was regarded as a model for all the monasteries of the province. It was renowned especially for its charity to the poor, being popularly called Jumièges the Almoner ( Jumièges l'Aumônier ). The church was enlarged in 1256, and again restored in 1573. The abbots of Jumièges took part in all the great affairs of the church and state. One of them, Robert Champart , became Archbishop of Canterbury in 1051, after being Bishop of London . Many others became bishops in France, and some were also raised to the dignity of cardinal. The fortunes of the abbey suffered somewhat through the English invasion of the fifteenth century, but it recovered and maintained its prosperity and high position until the whole province was devastated by the Huguenots and the Wars of Religion . In 1649, during the abbacy of Francis III, Jumièges was taken over by the Maurist Congregation , under which rule some of its former grandeur was resuscitated. The French Revolution , however, ended its existence as a monastery, leaving only impressive ruins. These comprise the church, with its beautiful twin towers and western façade, and portions of the cloisters and library, the contents of which were removed to Rouen when the abbey was dissolved. In the middle of the former cloister, there is still the 500-year-old yew tree. A gallery of the cloister was bought by Lord Stuart de Rothesay to rebuild it in Highcliffe Castle near Bournemouth , Dorset. [ 9 ] The Nobel Prize-winning French novelist Roger Martin du Gard devoted his dissertation to an archaeological study of the ruins. [ 10 ] See also [ edit ] List of Merovingian monasteries Merovingian architecture Merovingian art Notes [ edit ]
|
|
1,067
|
49.008944°E
|
35.840139°N
|
Kharraqan towers
|
https://en.wikipedia.org/wiki/Kharraqan_towers
| 4,416
|
Iran
|
11th-century twinned domes in Avaj County, Qazvin Province, Iran Kharraqan towers برجهای خرقان The Kharāghān twin towers Religion Affiliation Muslim Year consecrated First tower 1067 Second tower 1093 Location Location Hesar-e Valiyeasr , Qazvin Province , Iran Architecture Architect(s) Muhammad bin Makki al-Zanjani Specifications Width 4 m Height (max) 13 m The Kharraqan towers (as known as the Kharrakhan or Kharaghan towers ; Persian : برجهای خرقان ) are a pair of mausolea built in 1067 and 1093, in the Kharraqan region of northern Iran , near Qazvin . They are notable for being an early example of geometric ornament, [ 1 ] an early example of double domes , [ 2 ] and one of the earlier tomb towers that appeared in the Seljuk era of medieval Iran during the 11th century. [ 3 ] [ 2 ] The octagonal brick structures stand 13 metres (43 ft) tall, and each side is 4 metres (13 ft) wide. [ 4 ] The surface of both mausolea demonstrate extensive use of geometry. The interior walls of the older mausoleum are decorated with paintings of various subjects. [ 5 ] The eastern tower dates from 1067–68, and the western tower dates from 1093. [ 2 ] Descriptions [ edit ] Structure [ edit ] Both mausolea have double shells for the domes; the inner shells are intact, but the outer shells on both towers are lost. There is no direct access to light through the windows on the outer and inner shells of the dome. [ 2 ] However, the opposite positions of the window on the two shells allow indirect light into the first tower through the side window on the inner shell. [ 2 ] Both octagonal towers have 8 rounded buttresses - one per corner. [ 2 ] Stronach and Young speculate there were vertical ribs for the demolished outer shell of the dome; however, they conclude from the lack of same ribs in the inner side that the ridges, accompanying the ribs, were decorative. [ 2 ] Exterior [ edit ] Both towers have inscriptions of their architect on the exterior surface. Muhammad b. Makki al-Zanjani is inscribed on the earlier tower; Abu’l-Ma’ali b. Makki al-Zanjani, on the later tower. [ 2 ] Stronach and Young indicate the two names refer to the same person—a local, unknown architect. [ 2 ] Also on the exterior of the buildings is an intricate geometric patterning formed of carved bricks. [ 6 ] The brick also features lengthy inscriptions, both historical and Quranic . The historical inscription on the Eastern tower includes not only the architect, but also another name, possibly the mausoleum's intended patron, which can only be partially read due to damage. [ 7 ] The Kufic inscription of Quranic text on the exterior walls of both towers, identically distributed across sides and buttresses, features Sura 59, verses 21-23, recognizable despite damage on buttresses. [ 2 ] Samuel Stern asserts that these Suras are an unusual choice for mausolea, but points to the preceding verses as being more fitting. [ 8 ] Parts of the inscriptions above the Western tower's door can be recognized as Sura 23, Verse 115. [ 8 ] Interior [ edit ] The eastern tower's interior appears to have been fully decorated with frescoes , but only a few survive. There are paintings of mosque lamps in the niches, [ 2 ] [ 5 ] of pomegranate trees and peacocks in the piers alternating between them, [ 2 ] [ 9 ] and of a medallion surrounding peacocks and geometrical ornament near the top of the niches. [ 2 ] There is also a band of Kufic calligraphy just below the beginning of the dome. [ 2 ] The western tower's interior contains no plaster decoration; instead, there are a mihrab and additional brick ornament. [ 2 ] It is believed that the occupant of the eastern tower was Abu Sa'id Bijar and the occupant of the western tower was Abu Mansur Iltayti, according to Dr. Samuel Miklós Stern's transliteration of the inscriptions on the towers. [ 2 ] Interpretations [ edit ] The Kharraqan towers exhibit more elaborate external design, individualized for each of the 8 sides, in comparison to other towers with more repetitive patterns. [ 10 ] Oleg Grabar reminds that there is no concrete method of elucidating the meaning of the abstract, geometric decoration in Islamic architecture. [ 10 ] Instead, the intricacy of the geometric pattern promotes appreciation of the visual design itself. [ 11 ] The subjects of wall paintings inside the western tower possess symbolic association with heaven. Abbas Daneshvari connects the light of the lamp with the light of the god, thus with paradise. Daneshvari further associates the interior paintings with paradise by emphasizing the iconographic role of peacocks, in sunburst medallions, as the bird of paradise. Peacocks appear in the Islamic medieval culture of Iran in literature and art objects such as textiles and ceramic wares. [ 12 ] 21st century [ edit ] Both towers were significantly damaged by the 2002 Bou'in-Zahra earthquake . They were in a good state of preservation before the event, suggesting it was one of the most powerful quakes in the region for approximately 900 years. [ 13 ] See also [ edit ] Iranian architecture Cultural Heritage, Handcrafts and Tourism Organization Great Seljuk Architecture History of Persian domes References [ edit ]
|
|
1,068
|
10.5675°E
|
51.87139°N
|
Harzburg
|
https://en.wikipedia.org/wiki/Harzburg
| 3,465
|
Germany
|
Imperial castle in Lower Saxony, Germany For the spa town, see Bad Harzburg . Harzburg Große Harzburg Bad Harzburg , Lower Saxony Reconstruction of foundation walls of a tower Harzburg Show map of Lower Saxony Harzburg Show map of Germany Coordinates 51°52′17″N 10°34′03″E / 51.87139°N 10.5675°E / 51.87139; 10.5675 Type Hilltop castle Code DE-NI Height 482 m above sea level (NN) Site information Condition Wall remnants, ditch Site history Built 1065 to 1068 Garrison information Occupants King, emperor The Harzburg , also called Große Harzburg ("Great Harz Castle"), is a former imperial castle , situated on the northwestern edge of the Harz mountain range overlooking the spa resort of Bad Harzburg in Goslar District in the state of Lower Saxony , Germany . It was erected from 1065 to 1068 at the behest of King Henry IV of Germany , slighted during the Saxon Rebellion in 1073-75, and a century later rebuilt under Emperor Frederick Barbarossa and his Welf successor Otto IV , who died here in 1218. Later used as a robber baron 's lair, the hill castle crumbled into ruins over the centuries. Today it has almost completely disappeared; only fragments of the foundation walls and the towers together with the castle well are preserved. Etymology [ edit ] Mentioned as Hartesburg in a 1071 deed, the name of the castle ( German : Burg ) is derived from the Harz mountain range, called Hart in Middle Low German , and is probably affiliated with hardt meaning "mountain forest". Therefore, Harzburg can be translated as "Harz Castle". Location [ edit ] View from the Großer Burgberg The ruins of the Große Harzburg are located above the spa town and the Radau valley, on the top of the Großer Burgberg hill at a height of 482.80 metres (1,584.0 ft). The summit can be reached by the Burgberg Cable Car and has an outstanding view past the neighbouring summit of Kleiner Burgberg (436.50 m (1,432.1 ft)) in the northwest over the northern Harz Foreland with the Harly hill range and far into the North German Plain . Southwards, the view goes over the densely forested mountains of the Harz National Park up to the Brocken massif. The remains of the walls on the Großer Burgberg summit are open to the public. The layout of the castle and its remnants are explained on information boards at the site. It had two different bergfrieds ; the square one has been partially rebuilt in modern times (see photo). One interesting feature is the wide moat driven through the rock that separates the castle complex into an east and a west wing, linked by a modern stone bridge. The castle well drew drinking water from the nearby Sachsenbrunnen , an enclosed spring in the woods. In medieval times, the water was transferred over several hundred metres in wooden pipes. The viewpoint on the northern edge of the castle plateau is marked by the 19 m (62 ft) high Canossa Column, erected in 1877 during the German Kulturkampf conflict in honour of Chancellor Otto von Bismarck on the 800th anniversary of King Henry's Walk to Canossa . In addition, the former castle grounds comprise the more than two-hundred-year-old Bismarck Elm, a Harz folktales memorial hall erected from 1928 to 1932, a modern statue of the alleged pagan god Krodo , as well as a restaurant. To the north, on the nearby hill of Kleiner Burgberg , are the remains of the so-called Kleine Harzburg ("Little Harz Castle") outlook, and to the east on the nearby Sachsenberg are the traces of a rampart, possibly constructed by the rebellious Saxons to besiege the Große Harzburg (see below). History [ edit ] 1574 drawing of the castle. Key: A = entrance, B = sharp angle, C = chapel, E = residence, F = outer ward, G = house on the Harnisch Chamber, H = old powder tower, I, K, L = walls, M = old brewery, N = offices, P = old kitchen, Q = Krodo Holl, R = moat Already in 924/926 King Henry the Fowler had reached an armistice with the Hungarian invaders at nearby Werla Castle. In the 11th century, the Salian emperor Henry III had made the Imperial Palace of Goslar one of his favourite residences. He did, however, arouse the disfavour of the local Saxon nobility and the Billung dukes, not only by his Franconian descendance, but also due to the expensive maintaining of his Imperial court. Henry III died in 1056 at Bodfeld Castle and when his son King Henry IV , came of age in 1065, he soon renewed the Saxon conflict laying claim to several domains around the Harz mountains. Henry IV [ edit ] During Henry's minority and the regency of his mother Agnes of Poitou , the Saxon nobles had strengthened their position. The local count Otto of Nordheim , Duke of Bavaria since 1061, had even been involved in Henry's abduction during the 1062 Coup of Kaiserswerth . In turn, the Große Harzburg ( Hartesburg ) was erected during a large-scale castle building programme in the Duchy of Saxony from 1065 to 1068. Intended as a demonstration of power in the Saxon mainland, the extended complex was strategically sited by King Henry's architect Bishop Benno II of Osnabrück providing protection for the nearby Goslar imperial palace and the mines of Rammelsberg . Its walls extend right up to the steep face of the conical hilltop. At the time it was built the castle was impregnable. Despite its defensive strength, the castle was also especially palatial. For example, it contained, amongst other things, unusually large, three-roomed great hall and collegiate church , to which Henry had many relics transferred. He even had a sort of family vault built, in which he laid the mortal remains of his brother, Duke Conrad II of Bavaria and his son, Henry, both of whom died young. According to the chronicler Lambert of Hersfeld , the Saxon Rebellion broke out when on 29 June 1073 several nobles marched against the king residing in the Imperial Palace of Goslar. Henry had to flee along with the Imperial Regalia into the walls of the Harzburg. The besieging forces led by Otto of Nordheim and Bishop Burchard II of Halberstadt allegedly numbered 60,000 whilst his garrison only had 300 men. The king finally fled to Franconia in the night to 10 August, according to legend, through the well of the besieged castle and a secret passage. The king initially did not gain much support by the German princes and in the 1074 Treaty of Gerstungen he was forced to agree to slight his castles, including the Harzburg. He hesitated, however, and only had the walls and towers demolished, whilst the buildings themselves remained. But in the spring of 1074 the Harzburg was plundered by annoyed peasants and completely destroyed. The collegiate church was not spared and the royal family tomb was desecrated. This incident prompted widespread indignation and gave Henry cause to advance with all his might against the rebellious Saxons again and so, on 9 June 1075, the rebels were defeated at the Battle of Langensalza . Henry IV never returned to the Harzburg. Pope Gregory VII , who would become a bitter enemy during the Investiture Controversy , imposed a ban on the devastated site. In January 1077, the king had to make the Walk to Canossa to obtain the revocation of his excommunication . Hohenstaufens and Welfs [ edit ] The Burgberg hill and Burgberg Cable Car During the conflict of the Hohenstaufen emperor Frederick I with the Welf duke Henry the Lion , the rebuilding work on the castle continued until 1180. In January 1076 Henry had claimed the enfeoffment with Goslar and the Rammelsberg mines in turn for his support against the rebellious Italian cities of the Lombard League . The duke was deposed in 1180, yet Frederick felt it was necessary to protect Goslar against Henry's forces. The complex was completed by Henry's son Emperor Otto IV , sole King of the Romans upon his rival Philip of Swabia in 1208. He was crowned Holy Roman Emperor by Pope Innocent III the next year, however, the two fell out soon after. Banned by the pope, he had to witness the election of the Hohenstaufen scion Frederick II in September 1211. Defeated by King Philip II of France in the 1214 Battle of Bouvines , he retired to his Saxon homelands and died at the Harzburg on 19 May 1218. The fortress lost its immediate function as an imperial castle as Otto's brother Henry of Brunswick had to surrender the Imperial Regalia to the Hohenstaufen dynasty. In 1222 the Harzburg was awarded the title of castrum imperiale again. Relying on the existing imperial enfeoffment of the Harzburg seat, the character of the castle as an imperial fortress remained largely intact up to the time the Hohenstaufen dynasty became extinct and the castle was pledged to the Counts of Wernigerode in 1269. Later history [ edit ] Northwestern view of Neustadt Harzburg, 1825 The following centuries were characterized by frequent changes of ownership. About 1370 it was occupied by the Welf duke Otto of Brunswick-Göttingen during the War of the Lüneburg Succession and entrusted to his ministerialis Hans von Schwicheldt, against fierce protest raised by the Wernigerode counts. In the early 15th century the Harzburg was pledged as a fief to the three sons of Hans von Schwicheldt, who turned it into a robber baron castle and ravaged the surrounding Brunswick , Hildesheim and Halberstadt lands. The importance of the fortress decreased steadily, resulting in its slow decline. A rebuilding of the castle in the 16th century was never carried out due to the high cost. During the Thirty Years' War , the castle changed hands several times, although its garrison remained intact. Since this type of fortification had become insignificant due to the changed nature of warfare, demolition of the remaining elements of the ruin began in 1650. Since then the castle has amounted to little more than its foundation ruins and well. The urban settlement of Neustadt at the foot of the Großer Burgberg adopted the castle's name in 1892. Gallery [ edit ] Bismarck on the Canossa Column 1872 quotation on the Canossa Column Krodo -Statue on the Harzburg Foundation of the round tower Sources [ edit ] Ernst Andreas Friedrich (1992), Wenn Steine reden könnten (in German), vol. 2, Hannover: Landbuch-Verlag, ISBN 3-7842-0479-1 Jan Habermann (2008), Die Grafen von Wernigerode (in German) (1. ed.), Norderstedt: Books on Demand, ISBN 978-3-8370-2820-1 E. J. G. Leonhard (1825), Die Harzburg und ihre Geschichte (in German), Helmstedt: Fleckeisensche Buchhandlung Wolfgang Petke (1971), "Die Grafen von Wöltingerode-Wohldenberg", Veröffentlichungen des Instituts für Historische Landesforschung der Universität Gottingen (in German) (4), Hildesheim: Lax Wolf-Dieter Steinmetz (2001), Geschichte und Archäologie der Harzburg unter Saliern, Staufern und Welfen 1065–1254 (in German), Bad Harzburg {{ citation }} : CS1 maint: location missing publisher ( link ) Friedrich Stolberg (1968), Befestigungsanlagen im und am Harz von der Frühgeschichte bis zur Neuzeit (in German), Hildesheim: Lax Heinrich Spier (1985), Die Geschichte der Harzburg (in German), Bad Harzburg: Harzburger Altertums- und Geschichtsverein Joachim Lehrmann (2007), Raubritter zwischen Heide, Harz und Weser (in German), Lehrte {{ citation }} : CS1 maint: location missing publisher ( link ) External links [ edit ] "Harzburg" . Encyclopædia Britannica . Vol. XI (9th ed.). 1880. p. 508. Henry, the Harz and the Harzburg (in German) The Harzburg at burgenwelt.de (in German) Diagram of the castle as it looked in medieval times (in German) Authority control databases International VIAF National Germany Geographic EBIDAT
|
|
1,068
|
1.58472°W
|
52.27944°N
|
Warwick Castle
|
https://en.wikipedia.org/wiki/Warwick_Castle
| 196,394
|
United Kingdom
|
Medieval motte-and-bailey castle in Warwickshire, England This article is about the castle in Warwickshire. For the pub in London, see Warwick Castle, Maida Vale . Warwick Castle Warwick in England Warwick Castle and the River Avon Warwick Castle Shown within Warwickshire Coordinates 52°16′46″N 01°35′05″W / 52.27944°N 1.58472°W / 52.27944; -1.58472 Site information Owner LXi REIT Operator Merlin Entertainments Open to the public 1978 Website warwick-castle .com Site history Built 1068 ( 1068 ) Materials Stone Warwick Castle is a medieval castle developed from a wooden fort, originally built by William the Conqueror during 1068. Warwick is the county town of Warwickshire , England, situated on a meander of the River Avon . The original wooden motte-and-bailey castle was rebuilt in stone during the 12th century. During the Hundred Years War , the facade opposite the town was refortified, resulting in one of the most recognisable examples of 14th-century military architecture. It was used as a stronghold until the early 17th century, when it was granted to Sir Fulke Greville by James I in 1604. Greville converted it to a country house , and it was owned by the Greville family (who became Earls of Warwick in 1759) until 1978, when it was bought by the Tussauds Group . In 2007, the Tussauds Group was purchased by the Blackstone Group , which merged it with Merlin Entertainments . Warwick Castle was then sold to Nick Leslau 's investment firm, Prestbury Group, under a sale and leaseback agreement. [ 1 ] Merlin continues to operate the site under a renewable 35-year lease. [ 2 ] Location [ edit ] An old map published around 1610 by John Speed showing Warwick; the castle is in the south of the town, next to the River Avon. Warwick Castle is situated in the town of Warwick, on a sandstone bluff at a bend of the River Avon . The river, which runs below the castle on the east side, has eroded the rock the castle stands on, forming a cliff. The river and cliff form natural defences. When construction began in 1068, four houses belonging to the Abbot of Coventry were demolished to provide space. The castle's position made it strategically important in safeguarding the Midlands against rebellion. [ 3 ] During the 12th century, King Henry I was suspicious of Roger de Beaumont, 2nd Earl of Warwick . To counter the earl's influence, Henry bestowed Geoffrey de Clinton with a position of power rivalling that of the earl. [ 4 ] The lands he was given included Kenilworth – a castle of comparable size, cost, and importance, [ 5 ] founded by Clinton [ 6 ] – which is about 8 kilometres (5 mi) to the north. Warwick Castle is about 1.6 kilometres (1 mi) from Warwick railway station and less than 3.2 kilometres (2.0 mi) from junction 15 of the M40 motorway ; it is also relatively close to Birmingham Airport . [ 7 ] History [ edit ] Antecedent [ edit ] An Anglo-Saxon burh was established on the site in 914; with fortifications instigated by Æthelflæd , daughter of Alfred the Great . The burh she established was one of ten which defended Mercia against the invading Danes . Its position allowed it to dominate the Fosse Way , as well as the river valley and the crossing over the River Avon. Though the motte to the south-west of the present castle is now called "Ethelfleda's Mound" ('Ethelfleda' being an alternative form of Æthelflæd), it is in fact part of the later Norman fortifications, and not of Anglo-Saxon origin. [ 8 ] It was also at this time, that what is now Warwick School was founded in the castle - making it arguably the oldest boys' school in the country. It still resides just over the River Avon, visible from all of the castle's towers. [ 9 ] Middle Ages [ edit ] The motte of the Norman motte-and-bailey castle is called Ethelfleda 's Mound After the Norman conquest of England , William the Conqueror established a motte-and-bailey castle at Warwick in 1068 to maintain control of the Midlands as he advanced northwards. [ 10 ] [ 11 ] Building a castle in a pre-existing settlement could require demolishing properties on the intended site. In the case of Warwick, the least recorded of the 11 urban castles in the 1086 survey , four houses were torn down to make way for the castle. [ 12 ] A motte-and-bailey castle consists of a mound – on which usually stands a keep or tower – and a bailey, which is an enclosed courtyard. William II appointed Henry de Beaumont , the son of a powerful Norman family, as constable of the castle. [ 3 ] In 1088, Henry de Beaumont was made the first Earl of Warwick . [ 3 ] He founded the Church of All Saints within the castle walls by 1119; the Bishop of Worcester , believing that a castle was an inappropriate location for a church, removed it in 1127–28. [ 3 ] In 1153, Gundreda de Warenne was tricked into believing that her husband, Roger de Beaumont, 2nd Earl of Warwick , was dead; she then surrendered control of the castle to the invading army of Henry of Anjou , later King Henry II of England. [ 3 ] [ 13 ] According to the Gesta Regis Stephani , a 12th-century historical text, Roger de Beaumont died upon hearing the news that his wife had handed over the castle. [ 14 ] King Henry II later returned the castle to the Earls of Warwick, as they had been supporters of his mother, Empress Matilda , in The Anarchy of 1135–1154. [ 15 ] Caesar's Tower was built between 1330 and 1360 During the reign of King Henry II (1154–89), the motte-and-bailey was replaced with a stone keep castle. This new phase took the form of a shell keep with all the buildings constructed against the curtain wall . [ 16 ] During the Barons' Rebellion of 1173–74 , the Earl of Warwick remained loyal to King Henry II, and the castle was used to store provisions. [ 3 ] The castle and the lands associated with the earldom passed down to the Beaumont family until 1242. When Thomas de Beaumont, 6th Earl of Warwick , died, the castle and lands passed to his sister, Margaret de Beaumont, 7th Countess of Warwick in her own right . Her first husband, John Marshal, died soon after, and while she looked for a suitable husband, the castle was in the ownership of King Henry III of England . When she married John du Plessis in December 1242, the castle was returned to her. [ 3 ] During the Second Barons' War of 1264–67, William Maudit, 8th Earl of Warwick , was a supporter of King Henry III. [ 3 ] The castle was taken in a surprise attack by the forces of Simon de Montfort, 6th Earl of Leicester , from Kenilworth Castle in 1264. [ 3 ] According to 15th-century chronicler John Rous , the walls along the northeastern side of Warwick Castle were slighted , so "that it should be no strength to the king". [ 3 ] Maudit and his countess were taken to Kenilworth Castle and were held there until a ransom was paid. After the death of William Maudit in 1267, the title and castle passed to his nephew, William de Beauchamp, 9th Earl of Warwick . Following William's death, Warwick Castle passed through seven generations of the Beauchamp family, who, over the next 180 years, were responsible for most of the additions made to the castle. In 1312, Piers Gaveston, 1st Earl of Cornwall , was captured by Guy de Beauchamp, 10th Earl of Warwick , and imprisoned in Warwick Castle, until his execution on 9 June 1312. [ 3 ] [ 17 ] A group of magnates led by the Earl of Warwick and Thomas, 2nd Earl of Lancaster , accused Gaveston of stealing the royal treasure. [ 18 ] Under Thomas de Beauchamp, 11th Earl , [ 3 ] [ 19 ] the castle defences were significantly enhanced in 1330–60 on the north eastern side by the addition of a gatehouse , a barbican (a form of fortified gateway), and a tower on either side of the reconstructed wall, named Caesar's Tower and Guy's Tower. [ 19 ] [ 20 ] The Watergate Tower also dates from this period. [ 21 ] Guy's Tower, constructed 1330–1360, photographed in 2017 Caesar's and Guy's Towers are residential and may have been inspired by French models (for example Bricquebec ). Both towers are machicolated and Caesar's Tower features a unique double parapet. The two towers are also vaulted in stone on every storey. Caesar's Tower contained a grim basement dungeon ; [ 22 ] according to local legend dating back to at least 1644 it is also known as Poitiers Tower, either because prisoners from the Battle of Poitiers in 1356 may have been imprisoned there, or because the ransoms raised from the battle helped to pay for its construction. [ 3 ] The gatehouse features murder holes , two drawbridges , a gate, and portcullises – gates made from wood or metal. [ 23 ] The towers of the gatehouse were machicolated. [ 24 ] The facade overlooking the river was designed as a symbol of the power and wealth of the Beauchamp earls and would have been "of minimal defensive value"; this followed a trend of 14th-century castles being more statements of power than designed exclusively for military use. [ 25 ] 15th and 16th centuries [ edit ] The Bear and Clarence Towers which were built by King Richard III in the 1480s The line of the Beauchamp Earls ended in 1449 when Anne de Beauchamp, 15th Countess of Warwick , died. [ 3 ] Richard Neville, the Kingmaker , became the next Earl of Warwick through his wife's inheritance of the title. During the summer of 1469, Neville rebelled against King Edward IV of England and imprisoned him in Warwick Castle. Neville attempted to rule in the King's name; [ 3 ] however, constant protests by the King's supporters forced the Earl to release the King. Neville was subsequently killed in the Battle of Barnet , fighting against the King in 1471 during the Wars of the Roses . Warwick Castle then passed from Neville to his son-in-law, George Plantagenet, 1st Duke of Clarence (brother of King Edward IV). George Plantagenet was executed in 1478, and his lands passed onto his son, Edward Plantagenet, 17th Earl of Warwick ; however, Edward Plantagenet was only two when his father died, so his lands were taken in the custody of The Crown . He was placed under attainder, and so could not inherit the throne, by King Henry VII of England , being held by the King for fourteen years in the Tower of London until he was executed for high treason in 1499, supposedly for conspiring to escape with the 'pretender' Perkin Warbeck . [ 26 ] Edward was the last Earl of Warwick of the title's first creation. [ 3 ] In the early 1480s, King Richard III of England (the other son-in-law of Neville) instigated the construction of two gun towers, Bear and Clarence Towers, which were left unfinished on his death in 1485; with their own well and ovens, the towers were an independent stronghold from the rest of the castle, possibly in case of mutiny by the garrison . With the advent of gunpowder, the position of Keeper of the Artillery was created in 1486. [ 3 ] A gibbet , previously on display in the dungeon in the basement of Caesar's Tower When antiquary John Leland visited the castle some time between 1535 and 1543, he noted that: ... the dungeon now in ruin standeth in the west-north-west part of the castle. There is also a tower west-north-west, and through it a postern-gate of iron. All the principal lodgings of the castle with the hall and chapel lie on the south side of the castle, and here the king doth much cost in making foundations in the rocks to sustain that side of the castle, for great pieces fell out of the rocks that sustain it. [ 3 ] While in the care of The Crown, Warwick Castle underwent repairs and renovations using about 500 loads of stone. The castle, as well as lands associated with the earldom, was in Crown care from 1478 until 1547, when they were granted to John Dudley with the second creation of the title the Earl of Warwick. [ 3 ] When making his appeal for ownership of the castle Dudley said of the castle's condition: "... the castle of its self is not able to lodge a good baron with his train, for all the one side of the said castle with also the dungeon tower is clearly ruinated and down to the ground". [ 3 ] Warwick Castle had fallen into decay due to its age and neglect, and despite his remarks Dudley did not initiate any repairs to the castle. [ 3 ] Queen Elizabeth I visited the castle in 1566 during a tour of the country , and again in 1572 for four nights. A timber building was erected in the castle for her to stay in, and Ambrose Dudley, 3rd Earl of Warwick , left the castle to the Queen during her visits. [ 3 ] When Ambrose Dudley died in 1590 the title of Earl of Warwick became extinct for the second time. A survey from 1590 recorded that the castle was still in a state of disrepair, noting that lead had been stolen from the roofs of some of the castle's buildings, including the chapel. [ 3 ] 17th-century country house [ edit ] In October 1601 Sir Fulke Greville wrote that "the little stone building there was, mightily in decay, the timber lodgings built thirty years ago for herself (Elizabeth I) all ruinous; ... so as in very short time there will be nothing left but a name of Warwick". [ 27 ] [ 3 ] [ 10 ] The castle's south facade as seen across the River Avon Greville was granted the ruinous Warwick Castle by King James I in 1604 and it was converted to a country house. [ 28 ] The conversion of the castle coincided with a period of decline in the use of castles during the 15th and 16th centuries; many were either being abandoned or converted into comfortable residences for the gentry. [ 29 ] In the early 17th century, Robert Smythson was commissioned to draw a plan of the castle before any changes were made. [ 3 ] Whilst the castle was undergoing repairs, it was peripherally involved in the Gunpowder Plot of 1605. The conspirators involved awaited news of their plot in Dunchurch in Warwickshire. When they discovered the plot had failed they stole cavalry horses from the stables at Warwick Castle to help in their escape. [ 3 ] When the title of Earl of Warwick was created for the third time in 1618, the Greville family were still in possession of Warwick Castle. Fulke Greville, who was himself ennobled as Baron Brooke in 1621, spent over £20,000 (£5 million as of 2025) [ 30 ] renovating the castle, while occupying a suite of rooms in the Watergate Tower; [ 31 ] according to William Dugdale , a 17th-century antiquary, this made it "a place not only of great strength but extraordinary delight, with most pleasant gardens, walks and thickets, such as this part of England can hardly parallel". [ 3 ] The chapel was built by Fulke Greville in the early 1600s On 1 September 1628 Fulke Greville was murdered in Holborn by his manservant : Ralph Haywood – a "gentleman" – who stabbed the baron twice after discovering he had been omitted from mention in Greville's will. Greville died from his wounds four weeks later. [ 32 ] The Watergate Tower, which is said to be haunted by his ghost, became known as the Ghost Tower. [ 31 ] Under Robert Greville, 2nd Baron Brooke , Warwick Castle's defences were enhanced from January to May 1642 in preparation for attack during the First English Civil War . The garden walls were raised, bulwarks – barricades of beams and soil to mount artillery – were constructed and gunpowder and wheels for two cannons were obtained. [ 3 ] Robert Greville was a Parliamentarian , and on 7 August 1642 a Royalist force laid siege to the castle. Greville was not in the castle at the time and the garrison was under the command of Sir Edward Peyto . Spencer Compton, 2nd Earl of Northampton , Lord Lieutenant of Warwickshire commanded the Royalist force. William Dugdale , acting as a herald, called for the garrison commander to surrender the castle, but he was refused. The besieging army opened fire on the castle, to little effect. [ 3 ] According to Richard Bulstrode : ... our endeavours for taking it were to little purpose, for we had only two small pieces of cannon which were brought from Compton House , belonging to the Earl of Northampton, and those were drawn up to the top of the church steeple, and were discharged at the castle, to which they could do no hurt, but only frightened them within the castle, who shot into the street, and killed several of our men. [ 33 ] The siege was lifted on 23 August 1642 when the garrison was relieved by the forces of the Earl of Essex , and the Royalists were forced to retreat to Worcester . [ 3 ] After the Battle of Edgehill in 1642 – the first pitched battle of the English Civil War – prisoners were held in Caesar's and Guy's Towers. [ 3 ] During the Second English Civil War prisoners were again held at the castle, including those from the Battle of Worcester in 1651. A garrison was maintained in the castle complete with artillery and supplies from 1643 to 1660, at its strongest it numbered 302 soldiers. In 1660 the English Council of State ordered the castle governor to disband the garrison and hand over the castle to Robert Greville, 4th Baron Brooke. [ 3 ] The state apartments were found to be outmoded and in poor repair. Under Roger and William Hurlbutt, master carpenters of Warwick, extensive modernization of the interiors was undertaken, 1669–78. To ensure that they would be in the latest taste, William was sent to Dorset to make careful notes of the interiors recently finished at Kingston Lacy for Sir Ralph Bankes to designs by Sir Roger Pratt . [ 34 ] On 4 November 1695 the castle was in sufficient state to host a visit by King William III . [ 3 ] The east front of Warwick Castle from the outer court, painted by Canaletto in 1752. [ 35 ] The east front of Warwick Castle from inside the courtyard, painted by Canaletto in 1752. Warwick Castle, painted by William Pitt about 1870 Francis Greville, 8th Baron Brooke , undertook a renewed programme of improvements to Warwick Castle and its grounds. The 8th Baron Brooke was also bestowed with the title Earl of Warwick in 1759, the fourth creation of the title. With the recreation of the title, the castle was back in the ownership of the earls of Warwick. Daniel Garrett 's work at Warwick is documented in 1748; Howard Colvin attributed to him the Gothic interior of the chapel. [ 36 ] Lancelot "Capability" Brown had been on hand since 1749. [ 37 ] Brown, who was still head gardener at Stowe at the time and had yet to make his reputation as the main exponent of the English landscape garden , was called in by Lord Brooke to give Warwick Castle a more "natural" connection to its river. Brown simplified the long narrow stretch by sweeping it into a lawn that dropped right to the riverbank, stopped at each end by bold clumps of native trees. A serpentine drive gave an impression of greater distance between the front gates and the castle entrance. [ 38 ] Horace Walpole saw Brown's maturing scheme in 1751 and remarked in a letter: "The castle is enchanting. The view pleased me more than I can express; the river Avon tumbled down a cascade at the foot of it. It is well laid out by one Brown who has set up on a few ideas of Kent and Mr Southcote ." [ 39 ] In 1754 the poet Thomas Gray , a member of Walpole's Gothicising circle, commented disdainfully on the activity at the castle: ... he [Francis Greville] has sash'd [ 40 ] the great apartment ... and being since told, that square sash windows were not Gothic, he has put certain whimwams withinside the glass, which appearing through are to look like fretwork. Then he has scooped out a little burrough in the massy walls of the place for his little self [ 41 ] and his children, which is hung with paper and printed linnen, and carved chimney-pieces, in the exact manner of Berkley-square or Argyle Buildings. [ 3 ] Gray's mention of Argyle Buildings, Westminster , London, [ 42 ] elicited a connotation of an inappropriately modern Georgian urban development, for the buildings in Argyll Street were a speculation to designs of James Gibbs , 1736–40. [ 43 ] Greville commissioned Italian painter Antonio Canaletto to paint Warwick Castle in 1747, [ 44 ] while the castle grounds and gardens were undergoing landscaping by Brown. Five paintings and three drawings of the castle by Canaletto are known, making it the artist's most often represented building in Britain. [ 45 ] Canaletto's work on Warwick Castle has been described as "unique in the history of art as a series of views of an English house by a major continental master". [ 46 ] As well as the gardens, Greville commissioned Brown to rebuild the exterior entrance porch and stairway to the Great Hall. [ 47 ] Brown also contributed Gothick designs for a wooden bridge over the Avon (1758). [ 48 ] He was still at work on Warwick Castle in 1760. Timothy Lightoler was responsible for the porch being extended and extra rooms added adjacent to it in 1763–69. [ 47 ] and during the same years William Lindley provided a new Dining Room and other interior alterations. [ 49 ] In 1786–88 the local builder William Eboral was commissioned to build the new greenhouse conservatory, with as its principal ornament the Warwick Vase , recently purchased in Rome. [ 50 ] In 1802 George Greville, 2nd Earl of Warwick of the new creation, had debts amounting to £115,000 (£13 million as of 2025). [ 30 ] The earl's estates, including Warwick Castle, were given to the Earl of Galloway and John FitzPatrick, 2nd Earl of Upper Ossory , in 1806, but the castle was returned to the earls of Warwick in 1813. [ 3 ] The Great Hall was reroofed and repaired in Gothic taste in 1830–31 by Ambrose Poynter . [ 51 ] Anthony Salvin was responsible for restoring the Watergate Tower in 1861–63. [ 47 ] The fire of 1871 [ edit ] The castle was extensively damaged by a fire that started in the early hours of Sunday, 3 December 1871, [ 52 ] in Lady Warwick's apartments above the library, [ 53 ] to the east of the Great Hall. Lord and Lady Warwick were away. The flames spread rapidly, the recently restored roof fell in and the Hall and private apartments were completely destroyed. A few of the most valuable books and pictures were all that could be saved. [ 54 ] Art treasures and valuables, including paintings by Rembrandt, Rubens and Van Dyke, were rescued from other rooms in the castle. [ 55 ] The alarm was raised at 2 am. Two children, Eva and Sydney Greville, were snatched from their beds in a room above the dining hall by their nurse and carried to safety through smoke and flames minutes before the main staircase collapsed. [ 56 ] Fire brigades came from Warwick and Leamington, but efforts to fight the spread of the fire were hampered by an inadequate water supply and by the height to which it needed to be pumped. It appeared for a time that the entire castle might be lost. [ 57 ] Some weeks later, according to Lady Warwick, [ 58 ] it was found that the fire had been started deliberately by their recently employed under-butler. [ 59 ] On the Saturday, when the Warwicks were absent, he had asked the housekeeper's permission to bring a friend to show him the castle. Between them the two had stolen all items of value from the private apartments, and the under-butler had started a fire to conceal the robbery. [ 60 ] Although the Great Hall and private apartments were gutted, the overall structure was unharmed. [ 3 ] Restoration and reparations carried out by Salvin during 1872–75 were subsidised by donations from the public, which raised a total of £9,651 (£1.15 million as of 2025). [ 30 ] [ 3 ] Advent of tourism [ edit ] The gatehouse Individuals had been visiting the castle since the end of the 17th century, [ 61 ] and this grew in importance through the 19th century. In 1858, Queen Victoria visited the 4th earl , with great local celebrations. However, by 1885 it would appear the visitors were becoming a nuisance, as the earl closed the castle to visitors, causing consternation in the town. A local report stated, "One day last week eight American visitors who were staying at one of the principal hotels left somewhat hurriedly in consequence of their being unable to gain admission to the castle". [ 61 ] It soon re-opened, again and by 1900 had a ticket office and was employing a permanent guide. [ 61 ] The Cedar Room by W. W. Quatremain , c. 1910 By 1936, Arthur Mee was enthusing not just that "these walls have seen something of the splendour of every generation of our [English] story", with rooms "rich in treasure beyond the dreams of avarice" but also that "their rooms are open to all who will". [ 62 ] Through the 20th century, successive earls expanded the castle's tourism potential. [ 63 ] Corporate ownership [ edit ] One of the first views of the castle for tourists entering the grounds In 1967, Charles Greville, 7th Earl of Warwick , transferred the castle and other estates to his son and heir, Lord Brooke , [ 64 ] who in 1978 sold the Castle to the Tussauds Group for £1,300,000. The castle had been in the Greville family for 374 years, and its sale caused a public confrontation between father and son. [ 63 ] [ 65 ] Tussauds kept the castle in use mainly as a tourist attraction, while making extensive restorations to the castle and grounds. In twelve of the apartments open to tourists after the sale, wax figures of historic people are presented. Those depicted here were guests at a weekend party in 1898 hosted by Frances, Countess of Warwick; the principal guest was the Prince of Wales, later Edward VII . [ 66 ] One of the groups of wax figures in the castle; Lord Brooke, a young Winston Churchill, and Spencer Cavendish Display of armour and weaponry The collection of armoury on display at Warwick Castle is regarded as second only to that of the Tower of London . [ 67 ] In 2001, Warwick Castle was named one of Britain's "Top 10 historic houses and monuments" by the British Tourist Authority; the list included Tower of London , Stonehenge , and Edinburgh Castle . [ 68 ] Warwick Castle was recognised as Britain's best castle by the Good Britain Guide 2003 . [ 69 ] Around this time it was getting more than half a million visitors a year. [ 70 ] Ethelfleda's Mound In March 2007, the Tussauds Group sold the castle to the Blackstone Inc. investment firm, [ 71 ] and the site was then operated by Merlin Entertainments , a division of that Blackstone. In July of that year, Warwick Castle was sold again to the Prestbury Group [ 72 ] but it continued to be operated by Merlin under a renewable 35-year lease. [ 2 ] Seasonal exhibits [ edit ] Other tourist attractions include "Falconer's Quest'" (a bird show, featuring bald eagles , vultures , and sea eagles ), [ 73 ] archery displays, Jousting,"The Trebuchet Show" and "The Sword in the Stone Show". The Castle is also home to "The Castle Dungeon", a live actor experience similar to that of "London Dungeons". Warwick Castle is the subject of many ghost stories. [ 74 ] One such instance is that of Fulke Greville who is said to haunt the Watergate Tower despite having been murdered in Holborn. The castle's reputation for being haunted is used as a tourist attraction with events such as "Warwick Ghosts Alive", a live-action show telling the story of Fulke Greville's murder. [ 75 ] Musical events at the castle have included carolling , with performances by bands such as the Royal Spa Brass . [ 76 ] [ 77 ] At times during Summer 2018, the castle offered its War of the Roses event with jousting and other action. On certain dates in August, Dragon Slayer evenings were scheduled, with dining, a projection light show, pyrotechnics, fire jousting and live action stunts. [ 78 ] Warwick Castle as viewed from Ethelfleda's Mound in 2007. Heritage protection [ edit ] The conservatory in 2017 The castle is protected against unauthorised change as a scheduled monument [ 10 ] in recognition of its status as a "nationally important" archaeological site or historic building, [ 79 ] and is a Grade I listed building [ 47 ] together with its boundary walls, stables, conservatory, mill and lodge. [ 47 ] On 23 June 2006, a £20,000 stained glass window was damaged by teenage vandals and a ceremonial sword stolen, recovered soon after. [ 80 ] Warwick Castle trebuchet [ edit ] In June 2005, Warwick Castle became home to one of the world's largest working siege engines . The trebuchet is 18 metres (59 ft) tall, made from over 300 pieces of oak and weighs 22 tonnes (21.7 long tons; 24.3 short tons). [ 81 ] It sits on the riverbank below the castle. The machine was built with drawings from the Danish living history museum Middelaldercentret , who, in 1989, were the first to recreate a fully functioning trebuchet. [ 82 ] It was built in Wiltshire with expertise from the Danish museum. [ 83 ] [ 84 ] The trebuchet takes eight men half an hour to load and release. [ 85 ] The process involves four men running in 4 metres (13 ft) tall treadwheels to lift the counterweight, weighing 6 tonnes (5.9 long tons; 6.6 short tons), into the air. It is designed to be capable of hurling projectiles of up to 150 kilograms (330 lb) distances of up to 300 metres (980 ft) and as high as 25 metres (82 ft). [ 85 ] On 21 August 2006, the trebuchet claimed the record as the most powerful siege engine of its type when it sent a projectile weighing 13 kilograms (29 lb) a distance of 249 metres (817 ft) at a speed of 195 kilometres per hour (121 mph), beating the previous record held by the trebuchet at Middelaldercentret in Denmark. [ 86 ] On 10 April 2015 a thatched boathouse caught fire shortly after a burning cannonball was fired by the trebuchet. [ 87 ] [ 88 ] It was reported that a spark from the cannonball had started the blaze [ 88 ] although a castle spokeswoman said the cause had not yet been established. [ 87 ] Hundreds of tourists were evacuated from the castle, [ 88 ] but the spokeswoman said they were not at any risk. [ 87 ] [ 88 ] The Daily Telegraph described the boathouse as "historic", "medieval" and dating to 1896, when the 5th Earl had it built to house an electric boat. [ 88 ] The trebuchet was decommissioned in 2020 due to safety concerns, and was deconstructed and replaced with a comparable trebuchet in 2023. [ 89 ] [ 90 ] Gallery [ edit ] The Warwick Castle trebuchet is currently the largest one in the world (2009) It was reconstructed based on 13th-century drawings, and functions properly (2018) 2012 demonstration of the Warwick Castle trebuchet (launch at 10:30) Warwick Castle trebuchet from the rear (2010) Close up of the walking cage on the trebuchet (2010) Layout [ edit ] Plan of Warwick Castle The current castle, built in stone during the reign of King Henry II, is on the same site as the earlier Norman motte-and-bailey castle. A keep used to stand on the motte which is on the south west of the site, although most of the structure now dates from the post-medieval period. [ 3 ] In the 17th century the motte was landscaped with the addition of a path. [ 91 ] The bailey was incorporated into the new castle and is surrounded by stone curtain walls. [ 3 ] When Warwick Castle was rebuilt in the reign of King Henry II it had a new layout with the buildings against the curtain walls. The castle is surrounded by a dry moat on the northern side where there is no protection from the river or the old motte; the perimeter of the walls is 130 metres (140 yd) long by 82 metres (90 yd) wide. [ 3 ] The two entrances to castle are in the north and west walls. There was originally a drawbridge over the moat in the north east. In the centre of the north west wall is a gateway with Clarence and Bears towers on either side; this is a 15th-century addition to the fortifications of the castle. [ 3 ] The residential buildings line the eastern side of the castle, facing the River Avon. These buildings include the great hall, the library, bedrooms, and the chapel. [ 3 ] Owners [ edit ] Main article: List of owners of Warwick Castle Over its 950 years of history Warwick Castle has been owned by 36 different individuals, plus four periods as crown property under seven different monarchs. It was the family seat of three separate creations of the Earls of Warwick, and has been a family home for members of the Beaumont, Beauchamp, Neville, Plantagenet, Dudley and Greville families. The first creation of the Earldom specifically included the right of inheritance through the female line, so the castle three times had a woman (or girl) as the owner. Eleven of the owners were under 20 when they inherited, including a girl aged two and a boy aged three. At least three owners died in battle, two were executed and one murdered. Every century except the 21st has seen major building work or adaptations at the castle. Grounds, park, accommodations [ edit ] View of Warwick Castle from The Mill Garden , which is privately owned, but open to the public The water-powered engine room used for the generation of electricity from 1894 until 1940, built on the site of the former flour mill Formal gardens belonging to Warwick Castle were first recorded in 1534. [ 92 ] Landscaping in the 17th century added spiral paths to the castle motte during Fulke Greville's programme of restoration. [ 3 ] [ 91 ] Francis Greville commissioned Capability Brown to re-landscape the castle grounds; he began working on the grounds and park in 1749 and had completed his work by 1757, having spent about £2,293 (£390,000 as of 2025). [ 93 ] [ 30 ] on the project. [ 94 ] The gardens cover 2.8 square kilometres (690 acres). [ 92 ] Robert Marnock created formal gardens in the castle's grounds in 1868–69. [ 92 ] Started in 1743 and originally known as Temple Park, Castle Park is located to the south of the castle. Its original name derived from the Knights Templar , who used to own a manor in Warwick. Houses around the perimeter of the park were demolished and the land they stood on incorporated into the park. [ 3 ] Attempts to make profits from the park in the late 18th century included leasing it for grazing, growing wheat, and keeping sheep. [ 3 ] A water-powered mill in the castle grounds was probably built under Henry de Beaumont, 1st Earl of Warwick. [ 3 ] By 1398 the mill had been relocated to just outside the eastern castle walls, on the west bank of the River Avon. Both mills were subject to flooding. By 1644, an engine house had been added to the mill. [ 3 ] The mill was reused as an electricity generating plant after it had stopped being used to grind, but once Warwick Castle was fitted with mains electricity in 1940, the mill was no longer required and was dismantled in 1954. [ 3 ] The latest option at the castle is glamping , overnight stays in nicely decorated tents in an area labelled Knight's Village. The units include no cooking facilities, so the fee for the stay includes a buffet dinner and a breakfast. [ 95 ] The previously introduced accommodations in timber lodges also remain available in the Woodland Hideaway area. [ 96 ] Incidents [ edit ] Death of George Townley [ edit ] In December 2007, George Townley tripped and fell on a low section of the Bear and Clarence Bridge at Warwick Castle into a dry moat beneath. Mr Townley experienced a heart attack from the fall and died of a sustained head injury later in hospital. [ 97 ] [ 98 ] The bridge had previously been identified as a risk. Merlin Attractions were unanimously found guilty of health and safety laws at Warwick Crown Court, and were ordered to pay £350,000 in fines and costs. [ 97 ] [ 98 ] In response, the company indicated they would appeal the case. [ 97 ] See also [ edit ] Castles in Great Britain and Ireland Kenilworth Castle List of castles in England List of owners of Warwick Castle Old Castle Bridge - ruined medieval bridge adjacent to the castle References [ edit ] Notes
|
|
1,069
|
1.8000°W
|
51.0931°N
|
Old Sarum Castle
|
https://en.wikipedia.org/wiki/Old_Sarum_Castle
| 5,280
|
United Kingdom
|
Motte-and-bailey castle in Salisbury, Wiltshire, England Old Sarum Castle Wiltshire , England Old Sarum Castle (foreground), with Old Sarum Cathedral in the background at left Old Sarum Castle Coordinates 51°05′35″N 1°48′00″W / 51.0931°N 1.8000°W / 51.0931; -1.8000 Grid reference SO716927 Type Castle Site information Owner English Heritage Open to the public Yes Condition Ruined Site history In use 1069–1322 Old Sarum Castle , formerly known as Seresberi Castle , is an 11th century motte-and-bailey castle built in Old Sarum , Wiltshire . It was originally built in timber and it was eventually built in stone, of which the ruins can be seen today. Only the mound and foundations of the castle survive today. The castle is owned by the English Heritage and it is open to the public, [ 1 ] along with the rest of Old Sarum. History [ edit ] Motte of Old Sarum Castle In 1069, after recognising the defensive qualities of Seresberi, now known as Old Sarum, William the Conqueror built a motte-and-bailey castle within an older Iron Age hillfort known as Sorviodunum , constructed around 400 BC. [ 2 ] The courtyard was added around 1100 by Bishop Roger [ 3 ] and he also began work on a royal palace during the 1130s, prior to his arrest by Henry's successor Stephen . [ 4 ] and directed the royal administration and exchequer along with his extended family. [ 5 ] This palace was long thought to have been the small structure whose ruins are located in the small central bailey; it may, however, have been the large palace recently discovered [ dead link ] in the southeast quadrant of the outer bailey. [ 6 ] This palace was 170 m × 65 m (560 ft × 210 ft), surrounded a large central courtyard, and had walls up to 3 m (10 ft) thick. A 60-metre-long (200 ft) room was probably a great hall and there seems to have been a large tower. [ 6 ] At the time of Roger's arrest by King Stephen , the bishop administered the castle on the king's behalf; [ 7 ] it was thereafter allowed to fall into disrepair, but the sheriff and castellan continued to administer the area under the king's authority. [ 8 ] 1927 model of Old Sarum Castle as it looked during the 12th century (model housed in Salisbury Cathedral ) In 1171, King Henry II ordered that improvements be made to Old Sarum, including a new gatehouse, drawbridge, inner bailey walls and a treasury to be constructed within the keep of the castle; this work continued until 1189. [ 7 ] In addition, a refurbishment was undertaken of the quarters of Eleanor of Aquitaine , who was under house arrest at Old Sarum until 1189. After these repairs and maintenance works, a new hall, kitchen, and bakehouse for the sheriff of Wiltshire were begun about 1201 and completed by 1215. [ 7 ] After most of the population of Old Sarum had relocated to Salisbury by 1220, the castle became unused and was in decay by 1240. It was later repaired, only to be demolished by King Edward III in 1322. [ 1 ] Around 1350, Edward III ordered £700 to be spent on repairs and maintenance of the castle at Old Sarum, but an additional £600 required to repair the keep was never spent, and the state of the castle started to deteriorate over time. [ 7 ] The castle grounds were sold by Henry VIII in 1514. [ 9 ] [ 10 ] Motte and ditch of Old Sarum Castle The site of the castle and Old Sarum Cathedral ruins at Old Sarum are considered a highly important ancient monument : it was among the 26 English locations scheduled by the 1882 Ancient Monuments Protection Act , [ 11 ] the first such British legislation. That protection has subsequently continued, expanding to include some suburban areas west and south-east of the outer bailey. [ 12 ] In 1972, Old Sarum was also listed as a Grade I structure . [ 1 ] Old Sarum Castle, along with the cathedral ruins, is now administered by English Heritage . Its paved car park and grass overflow parking area are in the eastern area of the outer bailey. References [ edit ]
|
|
1,071
|
13.38028°E
|
38.10361°N
|
San Giovanni dei Lebbrosi, Palermo
|
https://en.wikipedia.org/wiki/San_Giovanni_dei_Lebbrosi,_Palermo
| 622
|
Unknown
|
This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "San Giovanni dei Lebbrosi, Palermo" – news · newspapers · books · scholar · JSTOR ( October 2022 ) ( Learn how and when to remove this message ) Church of Saint John of the Lepers Chiesa di San Giovanni dei Lebbrosi (in Italian) Exterior of the Church Religion Affiliation Roman Catholic Province Archdiocese of Palermo Rite Roman Rite Location Location Palermo , Italy Geographic coordinates 38°06′13″N 13°22′49″E / 38.10361°N 13.38028°E / 38.10361; 13.38028 Architecture Style Arab-Norman Completed 1071 San Giovanni dei Lebbrosi is an ancient church in Palermo , Sicily . While built by the Norman rulers, the architecture has strong Arabic influences. The church in 1119 was attached to a leprosarium , hence the title. The church was dedicated to St John the Baptist. The adjacent hospital no longer exists. The church was initially commissioned in 1071 by Robert Guiscard and Roger I of Sicily . Tradition holds the besieging Norman Army had camped near this site, near an Arabic castle, and here erected a temporary shrine, which later became the site of the church. The leprosarium was putatively built because Roger II's brother died of Leprosy. Over the years, the hospital and church was under the control of various religious orders, including the Teutonic knights . The church, which had become a house, underwent dramatic restoration from 1920 to 1934. Centuries of accretions were removed. Some of the internal columns have capitals decorated with Kufic script. [ 1 ] [ 2 ] References [ edit ]
|
|
1,071
|
1.1221°W
|
51.6029°N
|
Wallingford Castle
|
https://en.wikipedia.org/wiki/Wallingford_Castle
| 20,570
|
United Kingdom
|
Ruined castle in Oxfordshire, England Wallingford Castle Oxfordshire , England Ruins of Wallingford Castle Wallingford Castle Coordinates 51°36′10″N 1°07′20″W / 51.6029°N 1.1221°W / 51.6029; -1.1221 Grid reference grid reference SU609897 Type Motte-and-bailey Site information Condition Ruined Site history Battles/wars The Anarchy , English Civil War Wallingford Castle is a medieval castle situated in Wallingford in the English county of Oxfordshire (historically Berkshire ), adjacent to the River Thames . Established in the 11th century as a motte-and-bailey design within an Anglo-Saxon burgh , it grew to become what historian Nicholas Brooks has described as "one of the most powerful royal castles of the 12th and 13th centuries". [ 1 ] Held for the Empress Matilda during the civil war years of the Anarchy , it survived multiple sieges and was never taken. Over the next two centuries it became a luxurious castle, used by royalty and their immediate family. After being abandoned as a royal residence by Henry VIII , the castle fell into decline. Refortified during the English Civil War , it was eventually slighted , i.e. deliberately destroyed, after being captured by Parliamentary forces after a long siege. The site was subsequently left relatively undeveloped, and the limited remains of the castle walls and the considerable earthworks are now open to the public. History [ edit ] 11th century [ edit ] Prosperous with its own mint and an important regional town overlooking a key crossing point on the River Thames , the town of Wallingford had been defended by an Anglo-Saxon burgh , or town wall, prior to the Norman invasion of 1066. [ 2 ] Wigod of Wallingford, who controlled the town, supported William the Conqueror 's invasion and entertained the king when he arrived in Wallingford. [ 3 ] Immediately after the end of the initial invasion, the king set about establishing control over the Thames Valley through constructing three key castles, the royal castles of Windsor and Wallingford, and the baronial castle, later transferred to royal hands, built at Oxford . [ 4 ] Wallingford Castle was probably built by Robert D'Oyly between 1067 and 1071. Robert had married Wigod's daughter Ealdgyth, and ultimately inherited many of his father-in-law's lands. [ 3 ] The wooden castle was built in the north-east corner of the town, taking advantage of the old Anglo-Saxon ramparts, with the motte close to the river overlooking the ford , and required substantial demolition work to make room for the new motte-and-bailey structure. [ 5 ] Unusually, it appears that the castle was constructed on top of high-status Anglo-Saxon housing, probably belonging to former housecarls . [ 6 ] The motte today is 60 metres (197 feet) across and 13 metres (43 feet) high. [ 7 ] Robert endowed a sixteen-strong college of priests within the castle, which he named St Nicholas College. [ 8 ] 12th century [ edit ] A 1912 plan of Wallingford Castle: A – Wallingford bridge and ford; B – River Thames ; C – city defences; D – bailey; E – motte Wallingford Castle passed from Robert to first his son-in-law Miles Crispin , and then Brien FitzCount , who married Robert's daughter after Miles died. [ 3 ] Brien, an important supporter of Henry I , was the son of the Duke of Brittany, and strengthened the castle in stone, probably in the 1130s. [ 9 ] He produced a very powerful fortification, including a shell keep and a curtain wall around the bailey, that, combined with the extensive earthworks, has been described by historian Nicholas Brooks as "one of the most powerful royal castles of the 12th and 13th centuries". [ 10 ] After the death of Henry, however, the political situation in England became less stable, with both Stephen of England and the Empress Matilda laying claim to the throne. Brien had originally been considered a supporter of Stephen, but in 1139 Matilda travelled to England and Brien announced his allegiance to her, joining forces with Miles of Gloucester and other supporters in the south-west. [ 3 ] Wallingford Castle was now the most easterly stronghold of the Empress's faction – it was either the closest base to London, or the first in line to be attacked by Stephen's forces, depending on one's perspective. [ 11 ] Wallingford Castle model pre 1652 Stephen attacked the castle in 1139, initially intending to besiege it, as the walls were considered impregnable to assault. [ 12 ] Brien had brought in considerable supplies – contemporaries believed the castle could survive a siege for several years if need be – and Stephen changed his mind, putting up two counter-castles to contain Wallingford along the road to Bristol, before continuing west. [ 13 ] The next year, Miles of Gloucester, possibly acting under orders from Robert of Gloucester, struck east, destroying one of the counter-castles outside Wallingford. [ 14 ] The civil war between Stephen and Matilda rapidly descended into an attritional campaign, in which castles like Wallingford played a critical role in efforts by both sides to secure the Thames Valley. [ 15 ] After the fall of Oxford to Stephen in 1141, Matilda fled to Wallingford, and the importance of the castle continued to grow. [ 3 ] Around this time Brien established a notorious prison within the castle, called Cloere Brien , or "Brien's Close", as part of his efforts to extract money and resources from the surrounding region. [ 3 ] The nobleman William Martel , Stephen's royal steward , was one of the most high-profile prisoners to be kept there. [ 16 ] Contemporary chroniclers reported the cries of tortured prisoners in the castle disturbed the inhabitants of the town of Wallingford. [ 3 ] There was not enough space in the castle for all of Brien's forces, and various houses in the town had to be taken for the use of his knights. [ 17 ] St Nicholas College, Wallingford Castle Between 1145 and 1146 Stephen made another attempt to seize Wallingford, but was again unable to take the castle despite building a powerful counter-castle to the east, opposite Wallingford at Crowmarsh Gifford , and building castles to the west at Brightwell , South Moreton and Cholsey . [ 18 ] He returned with larger forces in 1152, reestablishing the counter-castle at Crowmarsh Gifford and building another one overlooking Wallingford bridge, and settled his forces down to starve the castle out. [ 19 ] Brien, supported by Miles' son, Roger of Hereford , who had also become trapped in the castle, attempted to break through the blockade, but without success. [ 20 ] By 1153, the castle garrison was running very low on food, and Roger made a deal with Stephen allowing him to leave the castle with his followers. [ 20 ] Henry , the Empress' son and the future Henry II, then intervened, marching his forces to relieve the castle and placing Stephen's counter-castles under siege himself. [ 21 ] King Stephen marched back from Oxford, and the two forces confronted each other on the meadows outside the castle. [ 3 ] The result was an embryonic peace deal called the Treaty of Wallingford , leading on to the permanent Treaty of Winchester that would ultimately bring an end to the civil war and install Henry as king following Stephen's death in 1153. [ 22 ] Brien, who had no children, chose to enter a monastery, and surrendered Wallingford Castle to Henry at the end of the conflict in 1153. [ 3 ] At the end of the 12th century, the castle become closely associated with King John , who had been granted the town by Richard I in 1189. John seized the castle as well during his revolt in 1191, and although he was forced to return it, he reclaimed it when he became king himself in 1199. John made extensive use of Wallingford Castle during the First Barons' War between 1215 and 1216, reinforcing the fortifications and mobilising a substantial garrison to protect it. [ 3 ] 13th–15th centuries [ edit ] The castle moat Under Henry III 's reign, Richard , the 1st Earl of Cornwall , was formally granted the castle as his main residence in 1231. Richard lived in considerable style, and spent substantial sums on the property, building a new hall and more luxurious fittings. Richard's election as King of the Romans in 1251 brought an end to his use of the property, but the castle became embroiled in the Second Barons' War in the 1260s. Simon de Montfort seized the castle after his victory at the battle of Lewes , using it to imprison the royal family for a time, before moving them to the more secure Kenilworth Castle . Reclaimed by Henry III at the end of the conflict, it continued to be used by the Earls of Cornwall as a luxurious home for the rest of the century. [ 3 ] Edward II gave Wallingford Castle first to his royal favourite, Piers Gaveston , and then to his young wife, Isabella of France , with large sums still being spent on the property. Edward continued to use the castle as a royal prison for holding his enemies, until his own fall from power in 1326; Isabella, who overthrew her husband, then used it as an early headquarters following her invasion of England. Her son, Edward III , ultimately settled the castle on the new title of the Duke of Cornwall , used by sons of the king. [ 3 ] The castle continued to be used as a county jail , with many complaints about the number of felons who were able to escape from it. The cost of maintaining the castle from local rents and revenues became more challenging towards the end of the 14th century, with additional royal revenues being required for the ongoing work required on it. [ 3 ] Nonetheless, in 1399 when Richard II was deposed, the castle was well fortified and in good condition, forming what historian Douglas Biggs calls "a formidable obstacle" to Richard's enemies, and able to host the royal government when it first fled from London. [ 23 ] Wallingford Castle played little role in the Wars of the Roses and after Henry VIII used it for a final time in 1518 it appears to have fallen into disuse as a royal residence. [ 3 ] 16th–19th centuries [ edit ] One of the few pieces of castle wall to survive the slighting in 1652 The castle fell into decline in the 16th century; it was separated from the Duchy of Cornwall, and under Queen Mary the site was stripped for lead and other building materials for use at Windsor Castle. The antiquarian John Leland described the castle in 1540 as being "nowe sore yn ruine, and for the most part defaced", although the jail continued in use throughout the period, albeit still suffering from many escapee inmates. Held by various nobles from 1600 onwards, it returned to the crown under Charles I , who gave it to Queen Henrietta Maria , but by then the castle was only really valuable for the surrounding meadow land and fisheries. [ 3 ] The English Civil War broke out between the supporters of Charles I and Parliament in the 1640s; with the king and Parliament maintaining their capitals in Oxford and London respectively, the Thames Valley once again became a critical war zone. Wallingford was a Royalist town, with a garrison established there in 1642 to prevent an advance on Oxford to the north-west. [ 24 ] Colonel Thomas Blagge was appointed governor, and in 1643 the king instructed him to refortify the castle, inspecting the results later that year. By 1644, the surrounding Thames towns of Abingdon and Reading had fallen and Parliamentary forces unsuccessfully attacked the town and castle of Wallingford in 1645. General Thomas Fairfax placed Wallingford Castle under siege the next year; after 16 weeks, during which Oxford fell to Parliamentary forces , the castle finally surrendered in July 1646 under generous terms for the defenders. [ 3 ] The risk of civil conflict continued, however, and Parliament decided that it was necessary to slight , or damage so as to put beyond military use, the castle in 1652, as it remained a surprisingly powerful fortress and a continuing threat should any fresh uprising occur. [ 25 ] The castle was virtually razed to the ground in the operation, although a brick building continued to be used as a prison into the 18th century. [ 26 ] A large house was built in the bailey in 1700, followed by a gothic mansion house on the same site in 1837. [ 27 ] Today [ edit ] The mansion, abandoned due to rising costs, was demolished in 1972, allowing Wallingford Castle to be declared a scheduled monument as well as a Grade I listed building. [ 7 ] The castle grounds, including the remains of St Nicholas College, two sections of castle wall and the motte hill, are now open to the public. An archaeological research project run by Leicester University conducted a sequence of excavations between 2002 and 2010, aiming to better understand the historical transition from the Anglo-Saxon town of Wallingford and the burgh , to the period of the Norman castle. [ 28 ] The castle's motte was investigated by the Round Mounds Project during 2015 and 2016, whose results confirmed the mound's Norman origins. [ 29 ] The grounds—Wallingford Castle Meadows—are managed by environmental learning charity Earth Trust on behalf of South Oxfordshire District Council . [ 30 ] See also [ edit ] Castles in Great Britain and Ireland List of castles in England List of lords of Wallingford Castle List of prisoners at Wallingford Castle References [ edit ]
|
|
1,072
|
14.89361°E
|
37.56556°N
|
Castello Normanno (Paternò)
|
https://en.wikipedia.org/wiki/Castello_Normanno_(Patern%C3%B2)
| 807
|
Italy
|
The Castello normanno. The Castello normanno ("Norman Castle") is a castle in Paternò , in the Province of Catania , Sicily , southern Italy. History [ edit ] The castle was built in 1072 by Count Roger I of Sicily to protect the Simeto valley from Islamic raids. Under Henry VI it was made the seat of the Count of Paternò, assigned to his fellow Swabian Bartholomew of Luci. Later the castle housed kings and queens, such as Henry's son Emperor Frederick II , Eleanor of Anjou and Blanche I of Navarre , as the castle had been included in the so-called Camera Reginale estates ("Queen's Chamber") by King Frederick III of Sicily . [ 1 ] [ 2 ] The Chamber was abolished in the 15th century, and in 1431 the castle was acquired by the Speciale family; until 1456 it was owned by the Moncada family. Used as a jail, in the following centuries it became increasingly decayed, until restoration work begun in the 19th century brought it back to its ancient prominence. [ 3 ] Description [ edit ] Wikimedia Commons has media related to Castello Normanno (Paternò) . The castle has a rectangular plan, on three floors, with a height of 34 m. Originally, it had Ghibelline-style merlons , of which today only remains can be seen. Notable is the colour effect created by the dark shade of the stones and the frames of the Gothic-style mullioned windows , in white limestone . The first-storey houses several service chambers and the Chapel of St. John, decorated with precious 13th-century frescoes. The piano nobile houses a large Weapons Hall. The king's residence was located on the upper floor. References [ edit ]
|
|
1,077
|
1.0831°E
|
51.2797°N
|
Canterbury Cathedral
|
https://en.wikipedia.org/wiki/Canterbury_Cathedral
| 244,933
|
United Kingdom
|
Church in Kent, England Canterbury Cathedral Cathedral and Metropolitical Church of Christ, Canterbury Cathedral from the city entrance 51°16′47″N 1°04′59″E / 51.2797°N 1.0831°E / 51.2797; 1.0831 Location Canterbury , Kent Country England Denomination Church of England Previous denomination Roman Catholic Churchmanship Liberal Catholic Website Official website History Status Cathedral Consecrated 1070 Architecture Functional status Active Heritage designation Grade I listed Designated 3 December 1949 [ 1 ] Architectural type Cruciform basilica Style Romanesque , Gothic Groundbreaking 1070 Completed 1834 (last major alteration) Specifications Length 525 ft (160 m) Nave length 178 ft (54 m) Choir length 180 ft (55 m) Width 154 ft (47 m) Nave width 71 ft (22 m) Nave height 80 ft (24 m) Choir height 71 ft (22 m) Number of towers 5 Tower height 236 ft (72 m) (crossing) [ 2 ] Number of spires 1 (now lost) Spire height 190 ft (58 m) (northwest tower, demolished 1705) Bells 14 (1981) Tenor bell weight 34-3-4 (1767 kg) Administration Province Canterbury Diocese Canterbury (since 1072) Clergy Archbishop Vacant (since 12 November 2024), Archbishop of Canterbury Bishop(s) Rose Hudson-Wilkin , Bishop of Dover Dean David Monteith Precentor Wendy Dalyrmple (from 5 November) Canon(s) Tim Naish (Librarian) Canon Missioner Emma Pennington Canon Treasurer Andrew Dodd Archdeacon Will Adam (Canon Residentiary) Laity Organist/Director of music David Newsholme UNESCO World Heritage Site Official name Canterbury Cathedral, St Augustine's Abbey , and St Martin's Church Type Cultural Criteria i, ii, vi Designated 1988 (12th session ) Reference no. 496 Region Europe and North America Listed Building – Grade I Official name Christchurch Cathedral, the Cathedral Precincts Designated 13 December 1949 Reference no. 1336823 The archiepiscopal throne in Canterbury Cathedral Canterbury Cathedral is the cathedral of the archbishop of Canterbury , the spiritual leader of the Church of England and symbolic leader of the worldwide Anglican Communion . Located in Canterbury , Kent, it is one of the oldest Christian structures in England and forms part of a World Heritage Site . Its formal title is the Cathedral and Metropolitical Church of Christ, Canterbury . [ 3 ] [ a ] Founded in 597, the cathedral was completely rebuilt between 1070 and 1077. The east end was greatly enlarged at the beginning of the 12th century, and largely rebuilt in the Gothic style following a fire in 1174, with significant eastward extensions to accommodate the flow of pilgrims visiting the shrine of Thomas Becket , the archbishop who was murdered in the cathedral in 1170. The Norman nave and transepts survived until the late 14th century, when they were demolished to make way for the present structures. Before the English Reformation , the cathedral was part of a Benedictine monastic community known as Christ Church, Canterbury , as well as being the seat of the archbishop. History [ edit ] Plan of Canterbury Cathedral before the 1067 fire Roman [ edit ] Christianity in Britain is referred to by Tertullian as early as 208 AD [ 4 ] and Origen mentions it in 238 AD. In 314 three Bishops from Britain attended the Council of Arles . [ 5 ] Following the end of Roman life in Britain, during the first three decades of the fifth century, [ 6 ] and the subsequent arrival of the heathen Anglo-Saxons , Christian life in the east of the island was disrupted. [ 6 ] Textual sources however suggest that the Christian communities established in the Roman province survived in Western Britain during the fourth, fifth, and sixth centuries. [ 7 ] This Western British Christianity proceeded to develop on its own terms. [ 7 ] In 596, Pope Gregory I ordered Augustine , the abbot of St Andrew's Benedictine Abbey in Rome, to lead the Gregorian Mission to convert the Anglo-Saxons to Christianity . [ 8 ] According to the writings of the later monk Bede , these Augustinian missionaries gained permission from the Kentish king to restore several pre-existing churches. [ 8 ] Augustine then founded Canterbury cathedral in 597 and dedicated it to Jesus Christ, the Holy Saviour . [ 9 ] When other dioceses were founded in England, Augustine of Canterbury was made archbishop. Augustine also founded the Abbey of St Peter and Paul outside the Canterbury city walls . This was later rededicated to St Augustine himself and was for many centuries the burial place of the successive archbishops. The abbey is part of the World Heritage Site of Canterbury, along with the cathedral and the ancient Church of St Martin . [ 10 ] Early Medieval [ edit ] Bede recorded that Augustine reused a former Roman church. The oldest remains found during excavations beneath the present nave in 1993 were, however, parts of the foundations of an Anglo-Saxon building, which had been constructed across a Roman road. [ 11 ] [ 12 ] They indicate that the original church consisted of a nave, possibly with a narthex , and side-chapels to the north and south. A smaller subsidiary building was found to the south-west of these foundations. [ 12 ] During the 9th or 10th century this church was replaced by a larger structure (161 by 75 ft, 49 by 23 m) with a squared west end. It appears to have had a square central tower. [ 12 ] The 11th-century chronicler Eadmer , who had known the Saxon cathedral as a boy, wrote that, in its arrangement, it resembled St Peter's in Rome, indicating that it was of basilican form, with an eastern apse. [ 13 ] During the reforms of Dunstan , archbishop from 960 until his death in 988, [ 14 ] a Benedictine abbey named Christ Church Priory was added to the cathedral. But the formal establishment as a monastery seems to date only to c. 997 and the community only became fully monastic from Lanfranc 's time onwards (with monastic constitutions addressed by him to Prior Henry). Dunstan was buried on the south side of the high altar. Anglo-Saxon King Æthelred the Unready and Norman-born Emma of Normandy were married at Canterbury Cathedral in the Spring of 1002, and Emma was consecrated "Queen Ælfgifu ". [ 15 ] [ 16 ] The cathedral was badly damaged during Danish raids on Canterbury in 1011. The archbishop, Ælfheah , was taken hostage by the raiders and eventually killed at Greenwich on 19 April 1012, the first of Canterbury's five martyred archbishops. [ b ] After this a western apse was added as an oratory of Saint Mary , probably during the archbishopric of Lyfing (1013–1020) or Aethelnoth (1020–1038). The 1993 excavations revealed that the new western apse was polygonal, and flanked by hexagonal towers, forming a westwork . It housed the archbishop's throne, with the altar of St Mary just to the east. At about the same time that the westwork was built, the arcade walls were strengthened and towers added to the eastern corners of the church. [ 12 ] Norman [ edit ] The cathedral was destroyed by fire in 1067, a year after the Norman Conquest. Rebuilding began in 1070 under the first Norman archbishop, Lanfranc (1070–1077). He cleared the ruins and reconstructed the cathedral to a design based closely on that of the Abbey of Saint-Étienne in Caen , where he had previously been abbot, using stone brought from France. [ 18 ] The new church, its central axis about 5 m south of that of its predecessor, [ 12 ] was a cruciform building, with an aisled nave of nine bays, a pair of towers at the west end, aisleless transepts with apsidal chapels, a low crossing tower, and a short quire ending in three apses. It was dedicated in 1077. [ 19 ] The Norman cathedral, after its expansion by Ernulf and Conrad. Under Lanfranc's successor Anselm , who was twice exiled from England, the responsibility for the rebuilding or improvement of the cathedral's fabric was largely left in the hands of the priors . [ 20 ] Following the election of Prior Ernulf in 1096, Lanfranc's inadequate east end was demolished, and replaced with an eastern arm 198 feet long, doubling the length of the cathedral. It was raised above a large and elaborately decorated crypt . Ernulf was succeeded in 1107 by Conrad, who completed the work by 1126. [ 21 ] The new quire took the form of a complete church in itself, with its own transepts; the east end was semicircular in plan, with three chapels opening off an ambulatory . [ 21 ] A free-standing campanile was built on a mound in the cathedral precinct in about 1160. [ 22 ] As with many Gothic church buildings, the interior of the quire was richly embellished. [ 23 ] William of Malmesbury wrote: "Nothing like it could be seen in England either for the light of its glass windows, the gleaming of its marble pavements, or the many-coloured paintings which led the eyes to the paneled ceiling above." [ 23 ] Though named after the 6th-century founding archbishop, the Chair of St Augustine , the ceremonial enthronement chair of the Archbishop of Canterbury, may date from the Norman period. Its first recorded use is in 1205. Plantagenet period [ edit ] Martyrdom of Thomas Becket [ edit ] Image of Thomas Becket from a stained glass window The 12th-century quire A pivotal moment in the history of the cathedral was the murder of the archbishop, Thomas Becket , in the north-west transept (also known as the Martyrdom) on Tuesday 29 December 1170, by knights of King Henry II . The king had frequent conflicts with the strong-willed Becket and is said to have exclaimed in frustration, " Will no one rid me of this turbulent priest? " Four knights took it literally and murdered Becket in his own cathedral. After the Anglo-Saxon Ælfheah in 1012, Becket was the second Archbishop of Canterbury to be murdered. The posthumous veneration of Becket transformed the cathedral into a place of pilgrimage, necessitating both expansion of the building and an increase in wealth, via revenues from pilgrims, in order to make expansion possible. Rebuilding of the quire [ edit ] Tomb of Edward, the Black Prince In September 1174 the quire was severely damaged by fire, necessitating a major reconstruction, [ 24 ] the progress of which was recorded in detail by a monk named Gervase . [ 25 ] The crypt survived the fire intact, [ 26 ] and it was found possible to retain the outer walls of the quire, which were increased in height by 12 feet (3.7 m) in the course of the rebuilding, but with the round-headed form of their windows left unchanged. [ 27 ] Everything else was replaced in the new Gothic style, with pointed arches, rib vaulting, and flying buttresses. The limestone used was imported from Caen in Normandy, and Purbeck marble was used for the shafting. The quire was back in use by 1180 and in that year the remains of Dunstan and Ælfheah were moved there from the crypt. [ 28 ] The master-mason appointed to rebuild the quire was a Frenchman, William of Sens . Following his injury in a fall from the scaffolding in 1179 he was replaced by one of his former assistants, known as William the Englishman . [ 28 ] Trinity Chapel and Shrine of Thomas Becket [ edit ] Stained glass in the Trinity Chapel 'Becket's crown' chapel at the far east end of the cathedral In 1180–1184, in place of the old, square-ended, eastern chapel, the present Trinity Chapel was constructed, a broad extension with an ambulatory, designed to house the shrine of St Thomas Becket. [ 28 ] A further chapel, circular in plan, was added beyond that, which housed further relics of Becket, [ 28 ] widely believed to have included the top of his skull, struck off in the course of his assassination. This latter chapel became known as the "Corona" or "Becket's Crown". [ 29 ] These new parts east of the quire transepts were raised on a higher crypt than Ernulf's quire, necessitating flights of steps between the two levels. Work on the chapel was completed in 1184, [ 28 ] but Becket's remains were not moved from his tomb in the crypt until 1220. [ 30 ] Further significant interments in the Trinity Chapel included those of Edward Plantagenet (The " Black Prince ") and King Henry IV . The shrine in the Trinity Chapel was placed directly above Becket's original tomb in the crypt. A marble plinth, raised on columns, supported what an early visitor, Walter of Coventry , described as "a coffin wonderfully wrought of gold and silver, and marvellously adorned with precious gems". [ 31 ] Other accounts make clear that the gold was laid over a wooden chest, which in turn contained an iron-bound box holding Becket's remains. [ 32 ] Further votive treasures were added to the adornments of the chest over the years, while others were placed on pedestals or beams nearby, or attached to hanging drapery. [ 33 ] For much of the time, the chest (or " feretory ") was kept concealed by a wooden cover, which would be theatrically raised by ropes once a crowd of pilgrims had gathered. [ 30 ] [ 32 ] The Dutch humanist Desiderius Erasmus , who visited in 1512–1514, recorded that, once the cover was raised, "the Prior ... pointed out each jewel, telling its name in French, its value, and the name of its donor; for the principal of them were offerings sent by sovereign princes." [ 34 ] The income from pilgrims (such as those portrayed in Geoffrey Chaucer 's Canterbury Tales ) who visited Becket's shrine, which was regarded as a place of healing, largely paid for the subsequent rebuilding of the cathedral and its associated buildings. This revenue included the profits from the sale of pilgrim badges depicting Becket, his martyrdom, or his shrine. The shrine was removed in 1538. King Henry VIII allegedly summoned the dead saint to court to face charges of treason. Having failed to appear, he was found guilty in his absence and the treasures of his shrine were confiscated, carried away in two coffers and 26 carts. [ 35 ] Monastic buildings [ edit ] Cloisters The waterworks plan traced from the original by Robert Willis (1868) [ 36 ] A bird's-eye view of the cathedral and its monastic buildings, made in about 1165 [ 37 ] and known as the "waterworks plan" is preserved in the Eadwine Psalter in the library of Trinity College, Cambridge . [ 38 ] A detailed description of the plan can be found in the classic paper by Willis . [ 36 ] : 158–181 [ 39 ] It shows that Canterbury employed the same general principles of arrangement common to all Benedictine monasteries , although, unusually, the cloister and monastic buildings were to the north, rather than the south of the church. There was a separate chapter-house [ 37 ] which still exists, said to be "the largest of its kind in all of England". Stained glass here depicts the history of Canterbury. [ 40 ] The stained glass windows in the chapter-house The buildings formed separate groups around the church. Adjoining it, on the north side, stood the cloister and the buildings devoted to the monastic life. To the east and west of these were those devoted to the exercise of hospitality. Also to the east was the infirmary, with its own chapel. To the north, a large open court divided the monastic buildings from menial ones, such as the stables, granaries, barn, bakehouse, brewhouse, and laundries, inhabited by the lay servants of the establishment. At the greatest possible distance from the church, beyond the precinct of the monastery, was the eleemosynary department. The almonry for the relief of the poor, with a great hall annexed, formed the paupers' hospitium. [ 37 ] The group of buildings devoted to monastic life included two cloisters. The great cloister was surrounded by the buildings essentially connected with the daily life of the monks: the church to the south, with the refectory placed as always on the side opposite, the dormitory, raised on a vaulted undercroft , and the chapter-house adjacent, and the lodgings of the cellarer, responsible for providing both monks and guests with food, to the west. A passage under the dormitory led eastwards to the smaller or infirmary cloister, appropriated to sick and infirm monks. [ 37 ] Infirmary Chapel ruins The hall and chapel of the infirmary extended east of this cloister, resembling in form and arrangement the nave and chancel of an aisled church. Beneath the dormitory, overlooking the green court or herbarium, lay the "pisalis" or "calefactory", the common room of the monks. At its northeast corner access was given from the dormitory to the necessarium , a building in the form of a Norman hall, 145 feet (44 m) long by 25 feet (7.6 m) broad, containing 55 seats. It was constructed with careful regard to hygiene, with a stream of water running through it from end to end. [ 37 ] The circular lavatorium tower, for washing hands View of the treasury in about 1814 A second smaller dormitory for the conventual officers ran from east to west. Close to the refectory, but outside the cloisters, were the domestic offices connected with it: to the north, the kitchen, 47 feet (14 m) square, with a pyramidal roof, and the kitchen court; to the west, the butteries, pantries, etc. The infirmary had a small kitchen of its own. Opposite the refectory door in the cloister were two buildings where the monks washed before and after eating. [ 37 ] One of these is the circular two-storey lavatorium tower. [ 36 ] : 62–63 To the south of the infirmary cloister, close to the east end of the cathedral, is the treasury, with a distinctive octapartite vault. [ 39 ] : 56 The buildings devoted to hospitality were divided into three groups. The prior's group were "entered at the south-east angle of the green court, placed near the most sacred part of the cathedral, as befitting the distinguished ecclesiastics or nobility who were assigned to him." The cellarer's buildings, where middle-class visitors were entertained, stood near the west end of the nave. The inferior pilgrims and paupers were relegated to the north hall or almonry, just within the gate. [ 37 ] Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a monk of the priory) and William Chillenden, (elected 1264, previously monk and treasurer of the priory). [ 41 ] The monastery was granted the right to elect their own prior if the seat was vacant by the pope, and – from Gregory IX onwards – the right to a free election (though with the archbishop overseeing their choice). Monks of the priory have included Æthelric I , Æthelric II , Walter d'Eynsham , Reginald fitz Jocelin (admitted as a confrater shortly before his death), Nigel de Longchamps and Ernulf. The monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the archbishop was nominally their abbot, but this could lead to clashes with the king or pope should they put forward a different man – examples are the elections of Baldwin of Forde and Thomas Cobham . Quire screen [ 42 ] 14th and 15th centuries [ edit ] Early in the 14th century, Prior Eastry erected a stone quire screen and rebuilt the chapter house, and his successor, Prior Oxenden inserted a large five-light window into St Anselm's chapel. [ 43 ] The cathedral was seriously damaged by the 1382 Dover Straits earthquake , losing its bells and campanile. [ 44 ] Plan of Canterbury Cathedral showing the complex ribbing of the Perpendicular vaulting in the nave and transepts View from the northwest circa 1890–1900. From the late 14th century the nave and transepts were rebuilt, on the Norman foundations in the Perpendicular style under the direction of the noted master mason Henry Yevele . [ 45 ] In contrast to the contemporary rebuilding of the nave at Winchester , where much of the existing fabric was retained and remodeled, the piers were entirely removed, and replaced with less bulky Gothic ones, and the old aisle walls were completely taken down except for a low "plinth" left on the south side. [ 46 ] [ 12 ] More Norman fabric was retained in the transepts, especially in the east walls, [ 46 ] and the old apsidal chapels were not replaced until the mid-15th century. [ 43 ] The arches of the new nave arcade were exceptionally high in proportion to the clerestory . [ 43 ] The new transepts, aisles, and nave were roofed with lierne vaults , enriched with bosses. Most of the work was done during the priorate of Thomas Chillenden (1391–1411): Chillenden also built a new quire screen at the east end of the nave, into which Eastry's existing screen was incorporated. [ 43 ] The Norman stone floor of the nave, however, survived until its replacement in 1786. [ 12 ] The Perpendicular nave Canterbury Cathedral, fan vaulting of the crossing inside the central Bell Harry Tower From 1396 the cloisters were repaired and remodelled by Yevele's pupil Stephen Lote who added the lierne vaulting. It was during this period that the wagon-vaulting of the chapter house was created. A shortage of money and the priority given to the rebuilding of the cloisters and chapterhouse meant that the rebuilding of the west towers was neglected. The south-west tower was not replaced until 1458, and the Norman north-west tower survived until 1834 when it was replaced by a replica of its Perpendicular companion. [ 43 ] In about 1430 the south transept apse was removed to make way for a chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The north transept apse was replaced by a Lady Chapel, built-in 1448–1455. [ 43 ] The 235-foot (72 m) crossing tower was begun in 1433, although preparations had already been made during Chillenden's priorate when the piers had been reinforced. Further strengthening was found necessary around the beginning of the 16th century when buttressing arches were added under the southern and western tower arches. The tower is often known as the "Angel Steeple", after a gilded angel that once stood on one of its pinnacles. [ 43 ] The Modern period [ edit ] The decorative font in the nave The Reformation, Dissolution and Puritanism [ edit ] The cathedral ceased to be an abbey during the dissolution of the monasteries when all religious houses were suppressed. Canterbury Cathedral, and the great monastery of Christ Church were surrendered to the Crown on 30 March 1539, after the occupants had made "an inventory of the good, chattels, plate, precious ornaments, lead, and money belonging to the monks" and "all that could be moved" was "handed over to the master of the jewel-house" of the Tower of London, after which "the Prior and monks were then ejected. [ 47 ] The Cathedral reverted to its previous status of 'a college of secular canons'. According to the cathedral's own website, it had been a Benedictine monastery since the 900s. The New Foundation came into being on 8 April 1541. [ 48 ] The shrine to St Thomas Becket was destroyed on the orders of Henry VIII and the relics lost. In around 1576, the crypt of the cathedral was granted to the Huguenot congregation of Canterbury to be used as their Church of the Crypt . In 1642–1643, during the English Civil War , Puritan iconoclasts led by Edwin Sandys (Parliamentarian) caused significant damage during their "cleansing" of the cathedral. [ 49 ] Included in that campaign was the destruction of the statue of Christ in the Christ Church Gate and the demolition of the wooden gates by a group led by Richard Culmer . [ 50 ] The statue would not be replaced until 1990 but the gates were restored in 1660 and a great deal of other repair work started at that time; that would continue until 1704. [ 51 ] [ 52 ] Furnishings [ edit ] In 1688, the joiner Roger Davis, citizen of London, removed the 13th-century misericords and replaced them with two rows of his own work on each side of the quire. Some of Davis's misericords have a distinctly medieval flavour and he may have copied some of the original designs. When Sir George Gilbert Scott carried out renovations in the 19th century, he replaced the front row of Davis' misericords, with new ones of his own design, which seem to include many copies of those at Gloucester Cathedral , Worcester Cathedral and New College, Oxford . The west front in 1821 showing the Norman northwest tower at left prior to rebuilding (coloured engraving) Statues on the West Front [ edit ] Most of the statues that currently adorn the west front of the cathedral were installed in the 1860s when the South Porch was being renovated. At that time, the niches were vacant and the Dean of the cathedral thought that the appearance of the cathedral would be improved if they were filled. The Victorian sculptor Theodore Pfyffers was commissioned to create the statues and most of them were installed by the end of the 1860s. There are currently 53 statues representing various figures who have been influential in the life of the cathedral and the English church such as clergy, members of the royal family, saints, and theologians. Archbishops of Canterbury from Augustine of Canterbury and Lanfranc , to Thomas Cranmer and William Laud are represented. Kings and Queens from Æthelberht and Bertha of Kent , to Victoria and Elizabeth II are included. [ 53 ] 18th century to the present [ edit ] The Christchurch Gate with the new (1990) bronze statue of Christ; the original was destroyed in 1643 The original towers of Christ Church Gate were removed in 1803 and were replaced in 1937. The statue of Christ was replaced in 1990 with a bronze sculpture of Christ by Klaus Ringwald. [ 51 ] The original Norman northwest tower, which had a lead spire until 1705, [ 54 ] was demolished in 1834 owing to structural concerns. [ 43 ] It was replaced with a Perpendicular-style twin of the southwest tower (designed by Thomas Mapilton), now known as the Arundel Tower, providing a more symmetrical appearance for the cathedral. [ 55 ] [ 52 ] This was the last major structural alteration to the cathedral to be made. In 1866, there were six residentiary canonries, of which one was annexed to the Archdeaconry of Canterbury and another to that of Maidstone . [ 56 ] In September 1872, a large portion of the Trinity Chapel roof was completely destroyed by fire. There was no significant damage to the stonework or interior and the damage was quickly repaired. [ 57 ] The cathedral did not sustain serious damage during either World War During the bombing raids of the Second World War its library was destroyed, [ 58 ] but the cathedral did not sustain extensive bomb damage; the local Fire Wardens doused any flames on the wooden roof. [ 59 ] In 1986, a new Martyrdom Altar was installed in the northwest transept, on the spot where Thomas Becket was slain, the first new altar in the cathedral for 448 years. Mounted on the wall above it, there is a metal sculpture by Truro sculptor Giles Blomfield depicting a cross flanked by two bloodstained swords which, together with the shadows they cast, represent the four knights who killed Becket. A stone plaque also commemorates Pope John Paul II's visit to the United Kingdom in 1982. [ 60 ] Antony Gormley 's sculpture Transport was unveiled in the crypt in 2011. It is made from iron nails from the roof of the south-east transept. [ 61 ] In 2015, Sarah Mullally and Rachel Treweek became the first women to be ordained as bishops in the cathedral, as Bishop of Crediton and Bishop of Gloucester respectively. [ 62 ] In 2022, it was announced that David Monteith , who is gay and in a civil partnership , would serve as dean of the cathedral. [ 63 ] [ 64 ] His appointment was criticised by the Global South Fellowship of Anglican Churches (GSFA) and the Global Fellowship of Confessing Anglicans (GAFCON); the Church of England defended the decision stating that Monteith lives chastely with his partner. [ 65 ] In 2024, the cathedral began offering blessings for same-sex couples "already in civil partnerships or civil marriages" or in "covenanted friendship" during ordinary or regular church services in accordance with "Prayers of Love and Faith." [ 66 ] [ 67 ] The cathedral is Regimental Church of the Princess of Wales's Royal Regiment and a graduation venue for the University of Kent [ 68 ] and Canterbury Christ Church University . [ 69 ] Conservation [ edit ] Much of the stonework at Canterbury Cathedral is damaged and crumbling, the roofs are leaking and much of the stained glass is badly corroded. The last quinquennial structural review [ 70 ] revealed that a combination of centuries of weathering, pollution and constant use had taken its toll on the ancient building and some serious problems were in need of urgent action. The single biggest challenge is the roof. The cathedral is covered by a huge expanse of lead and whilst the majority of the wooden framework remains sound, much of the lead itself needs replacing. In addition, a large amount of concrete encasing the bottom of the roof beams needs to be removed and replaced with traditional wooden footers. Conservation of the external masonry, particularly on the northern side of the building, is equally important. The cathedral is in part built of Caen stone . Detailed archaeological studies are undertaken to identify exactly which stones need to be replaced or repaired. In addition, specialist cleaning techniques are used to remove accumulated chemical deposits which are very damaging to the building. As regards the interior, priorities include decoration of the vaults of the Trinity Chapel , conservation work in several other chapels, and major improvements to the Treasury building, which contains, amongst other things, the choir practice rooms. One of the many stained-glass windows at Canterbury Cathedral The earliest coloured glass windows in the cathedral date from the late 12th century, whilst others are as new as the four Ervin Bossányi windows in the south-east transept (1957). Many have already been conserved and protected by the team of stained glass conservators led by Leonie Seliger. However, much conservation work remains to be done, notably on the Oculus window in the south-east transept – a late 12th-century round window. [ 71 ] During the autumn of 2008, a major restoration of the lead roof over the transept was completed at a cost of approximately £500,000. [ 72 ] In 2018, the lead roof of the nave was replaced. [ 73 ] The extensive restoration of the cathedral that was underway in mid-2018 was part of a 2016–2021 schedule that also includes improved landscaping and accessibility, new visitor facilities and a general external restoration. [ 74 ] The so-called Canterbury Journey project [ 75 ] was expected to cost nearly £25 million; the funding included a £13.8 million Heritage Lottery grant, £10.9 million from the Canterbury Cathedral Trust and £250,000 from the Friends of the Cathedral. [ 73 ] Historic designations [ edit ] The cathedral and its precincts comprise a large number of listed buildings . The majority are listed at Grade I, the highest grade, with a much smaller number listed at Grade II*. Grade I [ edit ] The cathedral itself is listed at Grade I. [ 1 ] Other Grade I listed buildings include: the Chapter House, [ 76 ] the main gate into the cathedral precincts, [ 77 ] the cloister, [ 78 ] a passageway known as the Dark Entry, [ 79 ] the Lavatory Tower, [ 80 ] the Library, [ 81 ] Meister Omers, at No.16 The Precincts, originally a guest house for visitors, [ 82 ] the Norman Staircase, [ 83 ] the Prior Sellinge Gate, [ 84 ] the Prior's Chapel, [ 85 ] the remains of the Cellarer's Hall in the Archbishop's Palace Garden, [ 86 ] the Archbishop's Palace itself, [ 87 ] the Archdeacon of Canterbury's House, [ 88 ] the Cathedral Appeal Fund Office & the Deanery, [ 89 ] the Wolfson Library, [ 90 ] and Nos. 22–26 and 27 and 28 The Precincts. [ 91 ] [ 92 ] Grade II* [ edit ] Buildings listed at Grade II* include; No.17 Cathedral Precincts, [ 93 ] the Pilgrims Entry or Pentise attached to Number 29, Cathedral Precincts [ 94 ] and the County of Kent War Memorial Cross. [ 95 ] Scheduled monuments [ edit ] Christchurch Priory and the Archbishop's Palace, [ 96 ] and the Norman Staircase, the Cellarer's Hall, and the Pilgrim's Entry are also designated scheduled monuments , the latter three under a composite listing, Monuments in the precinct of Canterbury Cathedral. [ 97 ] Foundation [ edit ] Main west entrance, Canterbury Cathedral The Foundation is the authorised staffing establishment of the cathedral, few of whom are clergy. The head of the cathedral is the Dean , currently David Monteith , who is assisted by a chapter of 30 canons , four of whom are residentiary, the others being honorary appointments of senior clergy in the diocese . There are also a number of lay canons who all together form the greater chapter which has the legal responsibility both for the cathedral itself and also for the formal election of an archbishop when there is a vacancy-in-see. By English law and custom, they may only elect the person who has been nominated by the monarch on the advice of the prime minister . The Foundation also includes the choristers, lay clerks, organists, King's Scholars , the Six Preachers and a range of other officers; some of these posts are moribund, such as that of the cathedral barber. The cathedral has a workforce of over 300 (many of whom work part-time), and approximately 800 volunteers. Dean and Chapter [ edit ] As of 1 August 2022: [ 98 ] Dean – David Monteith (since 17 December 2022) Archdeacon of Canterbury and Canon Residentiary – William Adam (Archdeacon and Canon since 18 July 2022 collation) Canon Librarian – Tim Naish (since 22 April 2018) [ 99 ] Canon Missioner – Emma Pennington (since 16 March 2019) [ 100 ] Canon Treasurer ( Diocesan Canon ) – Andrew Dodd (since 27 September 2020 installation) [ 101 ] The Cathedral uses "Vice Dean" not of one particular appointee, but to refer to the Canon in Residence for each month. [ 102 ] Minor canons: Precentor – Wendy Dalrymple (since 2023) Finance [ edit ] Canterbury Cathedral receives no government or state funding and only occasional grants from English Heritage . It is not funded by the Church of England. The Church Commissioners pay the salary of the dean and two of the residentiary canons only. The cathedral is therefore largely self-funded. It costs around £20,000 per day to maintain the cathedral. (2023) [ 103 ] In order to meet these costs the cathedral has to rely on income from entry fees paid by visitors and a number of commercial operations such as property rental, the Cathedral Shop, as well as the Cathedral Lodge Hotel and Conference Centre. [ 104 ] Appeal [ edit ] The "Save Canterbury Cathedral" appeal was launched in October 2006 to protect and enhance the cathedral's future as a centre of worship, heritage and culture. The aim was to raise £50 million; by the end of 2010 the appeal had raised £11.5 million, [ 71 ] and as at May 2014 over £20 million had been raised. [ 70 ] The core part of the fundraising programme is focused on the cathedral's fabric. The major conservation-restoration projects already identified will cost £30 million. Fabric conservation is the most urgent element of the campaign. The appeal – the third of its kind following major fundraising drives at Canterbury in the 1950s and 1970s – was launched to fund these projects. Fundraising for the appeal will take place over a number of years both nationally and internationally, stressing the cathedral's role as the mother church of the worldwide Anglican Communion and as a World Heritage Site . An integrated conservation programme that addresses the priority areas has been drawn up by the cathedral's Surveyor to the Fabric, John Burton. Major repair and conservation projects to be funded by the appeal include roofs of the nave, aisles , and North West and South East Transepts ; stone carvings, pinnacles and stone facings of the central Bell Harry Tower; work on the North side of the Corona Chapel; [ 71 ] conservation of the Christ Church Gate entry to the Precincts; conservation of stained glass and surrounding stonework throughout the cathedral; and preservation of the collection of historic books and manuscripts . In addition, there are plans to refurbish the cathedral pipe organ and renovations to the Choir House have already been completed, providing better facilities for choristers. Improvements are planned to the fabric of the library buildings and to the cathedral's audio-visual and lighting systems which will significantly benefit visitors including the disabled, visually impaired and hard of hearing. The appeal also aims to develop the outmoded workshop area and stained glass studio, in order to ensure the survival of Canterbury as a centre of excellence for vital craft skills and to promote a sustainable maintenance base for work on the cathedral which can be viewed by the public. The fundraising group is the Canterbury Cathedral Trust, an independent, registered charity (1112590) seeking funds to provide conservation, craftsmanship, music and education. Since mid-2017, the Chief Executive has been Sarah Frankland. The Trust was able to obtain the £24.7m needed for The Canterbury Journey multi-year restoration programme which was planned for completion in 2021. In 2016–17 the Trust received £3.66m in donations and an additional £1.61m had been pledged for future projects. The next plan was to raise funds to restore and improve the Quire organ by 2020. In 2017, the cathedral was planning to have the new Welcome Centre open in 2019, with exhibition spaces and viewing gallery. [ 105 ] Police service [ edit ] The cathedral has its own police service, known as the Canterbury Cathedral Close Constables . They are attested Constables, with powers of arrest, who police and protect the Cathedral and Close. They also work with Kent Police . Music [ edit ] Polyphonic music written for the monks of Christ Church Priory, now Canterbury Cathedral, survives from the 13th century. The cathedral may have had an organ as early as the 12th century, [ 106 ] though the names of organists are only recorded from the early 15th century. [ 107 ] One of the earliest named composers associated with Canterbury Cathedral was Leonel Power , who was appointed master of the new Lady Chapel choir formed in 1438. The Reformation brought a period of decline in the cathedral's music which was revived under Dean Thomas Neville in the early 17th century. Neville introduced instrumentalists into the cathedral's music who played cornett and sackbut , probably members of the city's band of waits. The cathedral acquired sets of recorders , lutes and viols for the use of the choir boys and lay-clerks. [ 106 ] Organ [ edit ] The organ at Canterbury is of four manuals and is in both south and the north quire aisles, as well as a nave division. It was built in 1886 by Henry Willis and subsequently rebuilt by the same firm in the mid-20th century. It was rebuilt by N. P. Mander in 1978 and reduced to three manuals at about that time. David Flood, Organist and Master of the Choristers for over 40 years, oversaw the redesign, specification and total expansion and rebuilding project of the Cathedral Organ in 2018–2020 [ 108 ] The organ has now been fully restored and greatly enlarged, including reinstating the fourth manual, by Harrison and Harrison with work finishing in February 2020. [ 109 ] Organists [ edit ] See also: List of musicians at English cathedrals § Canterbury Cathedral Organists and assistant organists at Canterbury Cathedral have included composers William Shelbye , Clement Charlton Palmer , Gerald Hocken Knight and Philip Moore and musical directors Allan Wicks and Stephen Darlington . Following 42 years as both Assistant Organist and Organist and Master of the Choristers, David Flood retired on 29 December 2020. [ 110 ] Following 10 years as assistant organist and latterly director of the Girls' Choir and a period as acting director of music, David Newsholme was appointed Director of Music in July 2021. [ 111 ] The Assistant Organist is Jamie Rogers and he was appointed in December 2021. [ 112 ] Choirs [ edit ] There has been a choral tradition at Canterbury Cathedral for 1400 years. The cathedral choir consists of up to 25 boy choristers and 12 lay clerks and choral scholars. The boys are aged eight to thirteen. They receive scholarships and attend St Edmund's School , Canterbury. [ 113 ] There are seven choral services a week with Choral Evensong at 5:30 pm Monday through Friday, with the boys alone on Thursday and men on Wednesday. On Saturday and Sunday, there is evensong at 3:15 pm or 5:30pm and Eucharist on Sunday at 11 am. There are numerous extra services, especially at Christmas, Easter, and Pentecost. The Girls' Choir of Canterbury Cathedral was founded in 2014 and their first performance at Evensong, in January, was attended by more than 600 people and widely covered by the international press. [ 114 ] [ 115 ] They gave their first concert in December of that year. [ 116 ] They now share their duties equally with the boys of the choir and sometimes work together. The girls are aged 12 to 18. They attend local schools in Canterbury and some further afield. [ 117 ] In February 2023 it was announced that the entire framework for the child choristers at Canterbury Cathedral would be changing and that they would no longer board or attend St Edmund's School, causing local and international comment. [ 118 ] The Equality and Inclusion Plan set up by the new Dean was at the heart of this. [ 119 ] Bells [ edit ] Great Dunstan. Recording on YouTube The cathedral has a total of 21 bells in three of its five towers: The South West Tower (Oxford Tower) contains the cathedral's main ring of bells , hung for change ringing in the English style. There are fourteen bells – a ring of twelve with two semitones, which allow for ringing on ten, eight or six bells while still remaining in tune. All of the bells were cast in 1981 by the Whitechapel Bell Foundry from seven bells of the old peal of twelve with new metal added and rehung in a new frame. The length (draught) of the ropes was increased by lowering the floor of the ringing chamber to the level of the south aisle vault at the same time, also allowing for the new bells to be set lower in the belfry than the old, with the intention of reducing stress on the Medieval structure. The heaviest bell (tenor) of this ring weighs 34 long cwt 3 qr 4 lb (3,896 lb or 1,767 kg). [ 120 ] The ringers practise on Thursday at 7:15 pm. The North West Tower (Arundel Tower) contains the cathedral's clock chime. The five-quarter chimes were taken from the old peal of twelve in the Oxford Tower (where the clock was originally), and hung from beams in the Arundel Tower. The chimes are struck on the eighth Gregorian tone, which is also used at Merton College, Oxford . The hour is struck on Great Dunstan, the largest bell in Kent at 62 long cwt 2 qr 9 lb (7,009 lb or 3,179 kg), [ 121 ] which is also swung on Sunday mornings for Matins . In 1316 Prior Henry of Eastry gave a large bell dedicated to Saint Thomas, which weighed 71 + 1 ⁄ 2 cwt (3,630 kg). Later, in 1343, Prior Hathbrand gave bells dedicated to Jesus and St Dunstan. At this time the bells in campanile were rehung and their names recorded as "Jesus", "Dunstan", "Mary", "Crundale", "Elphy" (Ælfheah) and "Thomas". In the 1382 Dover Straits earthquake the campanile fell, destroying the first three named bells. Following its reconstruction, the other three bells were rehung, together with two others, of whose casting no record remains. The oldest bell in the cathedral is Bell Harry (approximately 8 long cwt (900 lb or 400 kg) [ 122 ] ), which hangs in a cage on the top of the central tower to which the bell lends its name. This bell was cast by Joseph Hatch in 1635, and is struck at 8 am and 9 pm every day to announce the opening and closing of the cathedral, and also occasionally for services as a Sanctus bell. [ 123 ] The cathedral also has custody of the bell of HMS Canterbury , a World War I-era light cruiser , hung near the Buffs Chapel in the southwest transept. Library [ edit ] Two leaves from the Lyghfield Bible The cathedral library has a collection of about 30,000 books and pamphlets printed before the 20th century and about 20,000 later books and serials. Many of the earlier books were acquired as part of donated collections. It is rich in church history, older theology, British history (including local history), travel, science and medicine, and the anti-slavery movement . The library's holdings are included in the online catalogue of the library of the University of Kent . [ 124 ] This section needs expansion . You can help by adding to it . ( November 2024 ) In July 2018, the cathedral purchased at auction a medieval Trussel Bible for £100,000. This Bible, subsequently renamed the "Lyghfield Bible", after the monk William Lighfyld, had previously been at Canterbury, and had been removed following the dissolution of the monasteries . [ 125 ] See also [ edit ] Alexander of Canterbury Architecture of the medieval cathedrals of England Dean of Canterbury Early Gothic architecture English Gothic architecture English Gothic stained glass windows List of cathedrals in England List of Gothic cathedrals in Europe List of tallest structures built before the 20th century Prior of Christ Church Poor Man's Bible Religion in the United Kingdom Notes [ edit ]
|
|
1,078
|
11.256791°E
|
43.765465°N
|
Santa Lucia dei Magnoli
|
https://en.wikipedia.org/wiki/Santa_Lucia_dei_Magnoli
| 513
|
Italy
|
Santa Lucia dè Magnoli Santa Lucia or Santa Lucia dei Magnoli is a Roman Catholic church located on via de'Bardi in Oltrarno district of Florence , region of Tuscany , Italy. History [ edit ] The church had been founded in 1078 by Cavalier Uguccione Della Pressa. At his death, it was patronized by his sons, Magnolo and his descendants, the Magnoli. A lazzaretto or leper colony, was located nearby, visited by St Francis of Assisi in his 1211 visit to Florence. This church was one of the 36 parishes within the last walls of Florence constructed by 1284–1345. The church has had varied leadership over the centuries, including the Benedictine monastery of San Miniato al Monte until 1246, and the Bishop of Florence after 1373. In 1421, Niccolò da Uzzano patronized the restoration of the church and decoration of the chapel of Lorenzo di Bicci , with scenes from the Life of Santa Lucia . Another major reconstruction took place in 1584 under Cardinal Alessandro dè Medici, later Pope Leo XI . [ 1 ] On the block stone facade, above the portal is a terracotta depiction of Santa Lucia between two angels by Benedetto Buglioni . The church has 14th-century altarpieces depicting a Santa Lucia by Pietro Lorenzetti and two canvases depicting the Annunciation by Jacopo del Sellaio . The main altarpiece is attributed to Agnolo di Donnino ; it replaces a Sacra Conversazione , the Santa Lucia de' Magnoli Altarpiece by Domenico Veneziano , now in the Uffizi Gallery . 43°45′56″N 11°15′24″E / 43.765465°N 11.256791°E / 43.765465; 11.256791 References [ edit ]
|
|
1,079
|
121.1458°E
|
31.0762°N
|
Huzhu Pagoda
|
https://en.wikipedia.org/wiki/Huzhu_Pagoda
| 2,791
|
China
|
Pagoda in Shanghai, China Huzhu Pagoda Huzhu Pagoda ( simplified Chinese : 护珠塔 ; traditional Chinese : 護珠塔 ; pinyin : Hùzhūtǎ ) is a Chinese pagoda located on Tianmashan Hill in the Songjiang District of Shanghai . It is known for its leaning angle, surpassing that of the Leaning Tower of Pisa . History [ edit ] The tower was built in 1079 during the Northern Song dynasty . Originally part of a building complex that was used to store Buddhist relics, a series of damaging fires left only the tower standing. It was named a cultural relic by the Shanghai government in 1983. [ 1 ] [ 2 ] Structure [ edit ] The pagoda is an octahedral tower with seven levels and a height of around 20 meters. The tower leaned to the southeast at an angle of 6.51 degrees in 1982 and has since then tilted even further to an angle of 7.10 degrees. The top of the tower is displaced 2.27 meters from the position it would have if the structure was aligned perfectly. The leaning is most likely caused by the tower being built on two different surfaces, with one side on the mountain's bedrock and the other on stone ballast. See also [ edit ] Tiger Hill Pagoda References [ edit ]
|
|
1,082
|
1.3105°W
|
34.8837°N
|
Great Mosque of Tlemcen
|
https://en.wikipedia.org/wiki/Great_Mosque_of_Tlemcen
| 9,753
|
Algeria
|
11th-century Almoravid-era mosque in northwestern Algeria Great Mosque of Tlemcen المسجد الكبير Religion Affiliation Islam Location Municipality Tlemcen Country Algeria Shown within Northern Algeria Geographic coordinates 34°53′01″N 1°18′38″W / 34.8837°N 1.3105°W / 34.8837; -1.3105 Architecture Type mosque Style Moorish ( Almoravid , Zayyanid ) Date established 1082 Specifications Minaret (s) 1 Minaret height 29.15 meters The Great Mosque of Tlemcen ( Arabic : الجامع الكبير لتلمسان , el-Jemaa el-Kebir litilimcen ) is a major historic mosque in Tlemcen , Algeria . It was founded and first built in 1082 but modified and embellished several times afterwards. It is considered one of the most important examples of architecture under the Almoravid dynasty . [ 1 ] The mosque saw major extensions to both the building and the construction of the minaret by the Zayyanid dynasty . History [ edit ] The minaret and courtyard of the mosque, dating from 1236 The mosque was founded by the Almoravid emir Yusuf ibn Tashfin in 1082 when he founded the city of Tagrart (present-day Tlemcen), an extension of the earlier Idrisid -era city of Agadir. [ 2 ] [ 3 ] [ 1 ] [ 4 ] However, the mosque was renovated and decorated by his son and successor, Ali ibn Yusuf . Among other things, the celebrated dome near the mosque's mihrab dates from this renovation, which an inscription below the dome indicates was completed in 1136. [ 3 ] [ 1 ] [ 4 ] Curiously, however, the actual name of the emir has been erased from the inscription, possibly by the Almohads who ruled the city after the Almoravids. [ 2 ] It is also believed that the old Almoravid palace of the city, the Qasr al-Qadima or Qasr al-Bali ("Old Palace"), directly adjoined the mosque on its northwestern side. [ 2 ] [ 3 ] [ 1 ] In 1236 Sultan Yaghmorasan (ruled 1236–1283), the founder of the Abdalwadid dynasty of Tlemcen, added the mosque's minaret near its courtyard. [ 2 ] [ 1 ] [ 3 ] Yaghmorasan also modified the areas around the courtyard and extended the mosque structure northwards. The original mosque likely had a larger rectangular courtyard whose position and proportions would have been similar to the courtyards of earlier mosques in Al-Andalus , whereas Yaghmorasan's modifications left the mosque with a square courtyard whose middle axis is no longer aligned with the middle axis of the mosque. The less ornate dome in the middle of the prayer hall today probably also dates from this time. [ 2 ] [ 1 ] Next to the mosque there used to be an Islamic court ( Mahkama ) and an Islamic university. In 1875, during French colonial control, the mosque was declared, along with other major monuments of the city, a "Historic Monument" and placed under certain protective measures. Around the same time, French architects carried out the first modern repairs, restorations, and studies of the mosque. [ 1 ] Architecture [ edit ] View of the prayer hall, showing the horseshoe arches and the transverse polylobed arches (photo circa 1889). The large (partly damaged) chandelier, popularly attributed to Yaghmorasan, is also visible on the right. The floor plan of the mosque is approximately 50 by 60 meters (160 by 200 feet) deep. [ 3 ] [ 5 ] Although the mosque is designed for a typical rectangular floor plan, the northwestern corner of the mosque is truncated because of the original presence of a palace on this side. [ 3 ] [ 1 ] Like most North African mosques, its has a hypostyle prayer hall and an internal courtyard ( sahn ). [ 3 ] The prayer hall is divided into 13 naves or aisles by 12 rows of horseshoe arches running perpendicular to the southeastern qibla wall. [ 3 ] Two transverse rows of arches – one on the south side of the courtyard and another about halfway between the courtyard and the qibla wall – also feature polylobed arches , and another polylobed arch runs transversally before the bay in front of the mihrab (niche symbolizing the direction of prayer ). [ 3 ] View of the mihrab and its surrounding area The central aisle in front of the mihrab is wider than the other aisles. At this aisle's middle point, in front of the second row of transverse arches , is an ornamental ribbed dome, likely added by Yaghmorasan in the 13th century. [ 1 ] [ 3 ] Another ornamental dome, older and more intricate, covers the bay in front of the mihrab. Some of the arch pillars near the mihrab also feature marble columns. The mihrab itself is an alcove in the wall which opens through a horseshoe arch framed by intricate carved stucco decoration . The overall design of the mihrab follows the architectural precedents seen in the mihrab of the Great Mosque of Cordoba . [ 3 ] The intricate ribbed dome in front of the mihrab is considered a highlight of Almoravid architecture and dates to the renovation of Ali ibn Yusuf. [ 1 ] [ 6 ] The structure of the dome is strictly ornamental, consisting of multiple ribs or intersecting arches forming a twelve-pointed star pattern. It is also partly see-through, allowing some outside light to filter through a screen of pierced and carved arabesque and openwork decoration that fills the spaces between the ribs. [ 1 ] [ 3 ] [ 4 ] The area below this dome, the maqsura , was once separated from the rest of the mosque by a richly-crafted wooden lattice screen. [ 1 ] The screen has since been moved to the Museum of Art and History in Tlemcen. It bears an inscription dating it to 1138, also around the time of Ali ibn Yusuf's renovation. [ 7 ] The original Almoravid mosque presumably had no minaret, as the current minaret was only added in 1236 by Yaghmorasan. The minaret is made of brick and has a typical square floor plan, measuring 6.3 meters (21 feet) per side. It has a two-tiered shaft: the main shaft is 26.2 meters (86 feet) tall and a secondary lantern tower above this brings the total height to 29.15 meters (95.6 feet) meters. [ 8 ] The four facades of the main shaft of the minaret are decorated with carved panels of sebka motifs springing from engaged columns below. An odd detail is the fact that the decorative panel on the courtyard side is uneven: the space between the engaged columns on the left is wider than the others, causing an uneven spacing within the sebka pattern above it as well. [ 8 ] The top of the minaret was formerly crowned with an Arabic inscription made in copper, the pieces of which were moved to a local museum before 1903. [ 9 ] Chandelier [ edit ] Suspended from the ribbed dome in the center of the prayer hall is a large circular chandelier. By popular tradition, its origin is attributed to a donation by Yaghmorasan in the 13th century. [ 9 ] [ 1 ] : footnote 15 William and Georges Marçais speculated that it could be a work of Andalusi origin. [ 9 ] Archeologist Lucien Golvin suggested that it was of slightly later date, possibly a spoil from the abandoned Marinid mosque of al-Mansura (beginning of the 14th century), where Ibn Marzuq described a chandelier that he had made and that had been moved to the Great Mosque of Tlemcen. [ 10 ] The largest and lowest part of the chandelier had a circumference of around 8 metres (26 ft) and was made of cedar wood clad with sheets of copper that were pierced with floral motifs. [ 9 ] In the 19th century, the chandelier had fallen into disrepair. [ 11 ] Its remains were moved to a local museum and a replacement inside the mosque was created in the 20th century by Mohammed ben Kalfate, a metalworker and artisan from Tlemcen. [ 10 ] [ 12 ] Influences and architectural legacy [ edit ] Antonio Almagro, in an analysis of the mosque's architecture, has argued that its original shape and proportions were similar to those of major mosques in Al-Andalus such as the Great Mosque of Cordoba but that this parallel is now somewhat obscured by later modifications to the mosque. [ 1 ] The celebrated ornamental dome and elaborate decoration added to the mosque by Ali ibn Yusuf, however, is considered exceptional and an important testimony of Almoravid craftsmanship which has rarely survived elsewhere. [ 2 ] [ 3 ] The design of the mosque's ornamental dome traces its origins to the 10th-century ribbed domes of the Great Mosque of Cordoba and subsequent domes in Al-Andalus, [ 1 ] [ 5 ] and in turn it inspired similar ornate domes in the Great Mosque of Fes el-Jdid and the Great Mosque of Taza , both built in the later Marinid period. [ 3 ] Almagro and others see further parallels between the mosque's features and the decorative features found in the architecture of the Taifas period in Al-Andalus, notably with the Aljaferia palace of Zaragoza . [ 1 ] [ 5 ] Indeed, there are historical reports of a former room (now vanished) in the Aljaferia whose vaulted ceiling had openwork decoration reminiscent of the mosque's openwork dome, although the remains of decoration in the palace today suggest it was less delicate and subtle than the mosque's dome. [ 1 ] Jonathan Bloom remarks that the evidence simply suggests that the Almoravids, especially at the height of their power and culture under Ali ibn Yusuf, could afford to import craftsmen from Al-Andalus to work on their new monuments in North Africa. The increased ornamental complexity and sophistication of subsequent Maghrebi architecture, influenced by Andalusi architecture, is thus in part due to this Almoravid patronage. [ 3 ] Bloom also notes that although we know the Almoravids built many other mosques, few examples of their architecture have survived, and therefore the Great Mosque of Tlemcen may not have been as "original" in its time as it appears now and its exceptional features today may have existed in other mosques that have now disappeared. The Almoravid expansion of the Qarawiyyin Mosque, for example, shows even more elaborate decoration overall than the Tlemcen mosque, although using different elements. [ 3 ] See also [ edit ] Great Mosque of Algiers Great Mosque of Nedroma Almoravid Qubba Moorish architecture Lists of mosques List of mosques in Africa List of mosques in Algeria History of medieval Arabic and Western European domes References [ edit ]
|
|
1,085
|
4.0287°W
|
39.8594°N
|
Monastery of Saint Dominic of Silos (the Old)
|
https://en.wikipedia.org/wiki/Monastery_of_Saint_Dominic_of_Silos_(the_Old)
| 1,475
|
Spain
|
Cistercian convent in Toledo, Spain Not to be confused with Abbey of Santo Domingo de Silos . This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "Monastery of Saint Dominic of Silos" the Old – news · newspapers · books · scholar · JSTOR ( July 2024 ) ( Learn how and when to remove this message ) You can help expand this article with text translated from the corresponding article in Catalan . (July 2011) Click [show] for important translation instructions. View a machine-translated version of the Catalan article. Machine translation, like DeepL or Google Translate , is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Catalan Wikipedia article at [[:ca:Santo Domingo el Antiguo]]; see its history for attribution. You may also add the template {{Translated|ca|Santo Domingo el Antiguo}} to the talk page . For more guidance, see Wikipedia:Translation . Monasterio de Santo Domingo el Antiguo The Monastery of Saint Dominic of Silos (the Old) (Spanish: Monasterio de Santo Domingo de Silos (el Antiguo) ) is a Cistercian convent in Toledo , Spain. History [ edit ] It is believed to have been founded in the 6th century. Its rebuilding after the Conquest of Toledo by King Alfonso VI of Leon and Castile is mentioned by the historian Pedro de Alcocer. [ 1 ] King Alfonso had it dedicated to St Dominic of Silos . It was Cluniac before becoming a nunnery of the Cistercian order. The convent underwent major rebuilding work in the second half of the 16th century, in which the mudéjar church was demolished. The new building was begun by Nicolás de Vergara and completed by the royal architect Juan de Herrera . Paintings [ edit ] Main altar ( retablo ) El Greco settled in Toledo in the 1570s. One of his first commissions in the city, which he gained with the aid of his patron Diego de Castilla , was to provide altarpieces for the convent's church. Some of the component canvases remain in situ , but the main altar now features a replica of the largest of them, The Assumption of the Virgin , which is in the Art Institute of Chicago . [ 2 ] Decades later El Greco provided a work intended to hang above his own tomb, The Adoration of the Shepherds (now in the Museo del Prado ). [ 3 ] Conservation [ edit ] The building has the heritage listing Bien de Interés Cultural . References [ edit ]
|
|
1,086
|
43.57000°E
|
40.51000°N
|
Menucihr Mosque
|
https://en.wikipedia.org/wiki/Menucihr_Mosque
| 495
|
Turkey
|
Mosque in Turkey Menûçihr Camii The first mosque built in Anatolia (modern day Turkey) Religion Affiliation Islam Province Kars Location Location Kars Province Shown within Turkey Geographic coordinates 40°30′36″N 43°34′12″E / 40.51000°N 43.57000°E / 40.51000; 43.57000 Architecture Type Mosque Style Islamic Architecture Groundbreaking 1072 Completed 1086 Minaret (s) 1 Menucihr Mosque , also Manučehr Mosque ( Kurdish : Mizgefta Menûçêhr ) is a mosque in the medieval city of Ani in Kars Province , Turkey . It was built between 1072 and 1086 [ 1 ] by Manuchihr ibn Shavur of the Kurdish Shaddadid dynasty . The restoration of the mosque started in June 2020. [ 2 ] [ 3 ] [ 4 ] [ 5 ] Style [ edit ] The style of the vault is considered as similar to that of the gavit or zhamatun of the Church of the Holy Apostles at Ani (built before 1217), suggesting broadly similar dates and circumstances. [ 6 ] Inscriptions [ edit ] A kufic inscription in a long band on its left façade related to the foundation of the mosque by Manuchihr ibn Shavur , under the government of Seljuk Sultan Malik-Shah I : [ 7 ] [In the name of Allah, most gracious, most merciful, the construction of this mosque and mi]naret was ordered by the great emir Shuja al-daula Abu Shujā Mīnuchīhr b. Shavūr in the government of our lord, the exalted sultan, the great Shahanshah [the great king of all peoples, ruler of the Arabs and Persians, king of the Ea]st and West, Abu-l Fath Malikshah b. Alp-Arslan … — Foundation inscription of the mosque. [ 7 ] A small trilingual inscription in the bottom left corner reads: In Persian (no longer visible): In hejira 635 [1237/1238], the sinner, Zikéria , son of the late... In Georgian [upper two lines]: In koronikon 458 [1238] I, the atabeg Zakaria , I have confirmed this In Armenian [lowest line]: Those who observe this, may they be blessed by God — Trilingual inscripition [ 8 ] On top of it are a large Mongol Ilkhanid yarligh inscription of 1319, a taxation edict. [ 7 ] [ 5 ] Menucihr Mosque, plan, 1881. [ 9 ] Menucihr Mosque, outside, 1881. [ 9 ] Menucihr Mosque, plan, 1881. [ 9 ] [ 10 ] Trilingual inscription Column top with muqarnas design Ceiling with muqarnas design, 1072-1086 Ceiling decoration Ceiling decoration See also [ edit ] Spread of Islam among Kurds Seljuk architecture References [ edit ]
|
|
1,090
|
2.0143676°W
|
53.9637342°N
|
Skipton Castle
|
https://en.wikipedia.org/wiki/Skipton_Castle
| 20,034
|
United Kingdom
|
Medieval castle in Skipton, North Yorkshire, England Skipton Castle Skipton , North Yorkshire , England Skipton Castle gatehouse Skipton Castle Coordinates 53°57′49″N 2°00′52″W / 53.9637342°N 2.0143676°W / 53.9637342; -2.0143676 Type Castle Site information Owner The Fattorini family Open to the public Yes Condition Complete Site history Built c. 1090 Built by Robert de Romille In use Until December 1645 Materials millstone grit Skipton Castle is a Grade I Listed medieval castle in Skipton , North Yorkshire , England . It was built in 1090 by Robert de Romille , a Norman baron , and has been preserved for over 931 years. History [ edit ] A colourised photochrom of Skipton Castle, c. 1890–1900 Skipton Castle was originally a motte and bailey castle built in 1090 by Robert de Romille , lord of the multiple estates of Bolton Abbey . Shortly after 1102, Henry I extended Romille's lands to include all of upper Wharfedale and upper Airedale . [ 1 ] [ page needed ] The earth and wood castle was rebuilt in stone to withstand attacks by the Scots . Dropping down to Eller Beck , the cliffs behind the castle made it a perfect defensive structure. In 1310, after the Romille line had died out, Edward II granted the castle to Robert Clifford who was appointed Lord Clifford of Skipton and Guardian of Craven . [ 2 ] Lord Clifford ordered many improvements to the fortifications, but he died in the Battle of Bannockburn in 1314 when the improvements were barely complete. [ 3 ] Skipton was raided by the Scots during the Great Raid of 1322 , yet the castle, with all its improvements, withstood the attack. During the English Civil War , the castle was the last Royalist stronghold in the north of England to surrender, in December 1645. After a three-year siege, a surrender was negotiated on 21 December 1645 between Oliver Cromwell and the Royalists. Cromwell slighted the castle by ordering the removal of the roofs. Legend has it that during the siege, sheep fleeces were hung over the walls to deaden the impact from the rounds of cannon fire. Sheep fleeces feature in the town's coat of arms . [ 4 ] [ page needed ] Skipton remained the Cliffords' principal seat until 1676. Lady Anne Clifford (1590–1676) was the last Clifford to own the castle. After the siege, she ordered repairs and planted a yew tree in the central courtyard to commemorate its restoration after the war. [ 2 ] Lady Anne's daughter, Lady Margaret Sackville (1614–1676), married John Tufton, 2nd Earl of Thanet (1609–1664), and the castle was then passed down through the Tufton family, becoming the seat of Lord Hothfield in 1871. [ 5 ] Skipton Castle is a well-preserved medieval castle, now a tourist attraction and a private residence. The castle is the start of the 100-mile (160 km) Lady Anne's Way long-distance path to Penrith . [ 6 ] Further Reginaldus Flandrensis witnessed a Skipton charter around 1130. [ citation needed ] "He held an office of trust as Seneschal of Skipton Castle, and we must assume that these lands were given to him at about that time as a reward for his services. They amounted to 1 Knight's fee and 14 carucates, and were held under Skipton Castle for feudal service." [ citation needed ] The Fattorini family purchased the castle in 1956. [ 7 ] The castle gained free wifi as part of an internet connectivity effort in North Yorkshire . [ 8 ] Layout [ edit ] The castle has six fortified drum towers , with a domestic range connecting two towers on the northern side, protected by a precipice overlooking the Eller Beck. The first floor comprises the original kitchen, great hall, withdrawing rooms and the lord's bedchamber. New kitchens, storage and work cellars make up the ground floor. The remaining towers are military in nature and purpose. In the 16th and 17th centuries were added a new entrance staircase (replacing the original drawbridge), a further domestic wing, and larger windows in the original structure. The roof is fully intact. In the centre is a Tudor courtyard called the Conduit Court, which contains a yew tree , reputedly planted by Lady Anne in 1659. [ 2 ] The outer curtain wall encloses the inner wards and subsidiary buildings, including the ruins of a 12th-century chapel. The wall is mainly extant, and is pierced by a twin-towered Norman gatehouse. The east tower of the gatehouse contains a 17th-century shell grotto , one of two remaining grottos from this period (the other being at Woburn Abbey ). [ 9 ] [ page needed ] An ancient well may explain how the castle garrison survived the siege of 1643–1645. [ 10 ] The Conduit Court and Yew tree The Tudor Wing Skipton Castle seen from behind The 12th-century chapel of St John the Evangelist Burials [ edit ] Henry Clifford, 2nd Earl of Cumberland , in the family vault George Clifford, 3rd Earl of Cumberland , in the family vault See also [ edit ] History of Skipton References [ edit ]
|
|
1,092
|
40.23583°E
|
37.91222°N
|
Great Mosque of Diyarbakır
|
https://en.wikipedia.org/wiki/Great_Mosque_of_Diyarbak%C4%B1r
| 5,969
|
Turkey
|
Mosque in Sur, Diyarbakır, Turkey Diyarbakır Grand Mosque Turkish : Cami-i Kebîr Religion Affiliation Sunni Islam Location Location Sur , Diyarbakır , Turkey Location of the mosque in Turkey. Geographic coordinates 37°54′44″N 40°14′9″E / 37.91222°N 40.23583°E / 37.91222; 40.23583 Architecture Type Mosque Style Islamic , Seljuk Groundbreaking c. 1091 The Great Mosque of Diyarbakır ( Turkish : Diyarbakır Ulu Camii or Cami-i Kebîr ; [ 1 ] Kurdish : Mizgefta Mezin a Amedê ) [ 2 ] [ 3 ] [ 4 ] was built in the late 11th century by the Seljuk sultan Malik-Shah I over an older mosque. According to some, it is the fifth holiest site in Islam after the Great Mosque of Damascus , [ 5 ] [ 6 ] [ 7 ] which influenced its design. [ 8 ] [ 9 ] [ 10 ] It can accommodate up to 5,000 worshippers and hosts four different Islamic traditions. [ 11 ] History [ edit ] Origins [ edit ] The Great Mosque of Diyarbakir is the oldest mosque in Anatolia and possibly the oldest in Turkey. [ 12 ] [ 13 ] Its origins and development are complicated and still not fully understood today. [ 14 ] [ 15 ] A mosque was founded in this area in the 7th century after the Muslim conquest of the city in 639. [ 16 ] [ 15 ] Recent archeological studies have suggested that the present mosque stands over a part of what was previously the Roman forum of the city. [ 17 ] According to traditional narratives, it also stands on the site of an earlier church built by the Byzantine emperor Heraclius in the 620s and dedicated to Saint Thomas . [ 18 ] [ 19 ] A German translation of a medieval Muslim text written by Pseudo-Waqidi (so-called because it may not be al-Waqidi himself, but rather a later author), claims that when the city was conquered, its main church was partitioned to be shared between Muslims and Christians. [ 20 ] [ 21 ] [ 22 ] Stories of Christian churches being partitioned in this manner are a recurring motif in Muslim narratives about the early Islamic conquests . [ 23 ] [ 24 ] In the case of Diyarbakir, this story has been accepted by some scholars (e.g. Creswell ) and is widely repeated by locals and in popular narratives of the mosque's history. [ 25 ] [ 26 ] The historicity of this story and the credibility of its text source have been questioned by some scholars due to uncertainty about the source's author, inconsistencies between its German and Arabic translations, and contradictions from other sources. [ 27 ] [ 24 ] [ 22 ] Fatma Meral Halifeoğlu, Martine Assénat, and Jean-Charles Ducène have discounted the story as apocryphal. [ 22 ] [ 28 ] One of the contradictions from other sources is the account of medieval Muslim author Yaqut (12th–13th century), which appears to contradict Pseudo-Waqidi in stating that the first Muslim conquerors allowed the Christians of the city to keep all their churches but prevented them from building new ones. [ 22 ] Among the other complications is the Zuqnin Chronicle , which records that the city's main church, built by Heraclius in 629, was fully restored by the Christian community in 770, long after the Muslim conquest. [ 29 ] [ 30 ] Another author, Theodotus (d. 698), mentions that the Muslims built a mosque after the conquest of the city. [ 31 ] Nasir Khusraw wrote in 1045 that the city's main church was an impressive building that stood next to the mosque. [ 32 ] [ 33 ] [ 22 ] These sources indicate that the church was still used by the Christian community during this time [ 30 ] and do not mention it being shared with Muslims. [ 34 ] One interpretation, supported by these sources, is that the original mosque was located next to the church and shared a platform with it, rather than sharing the same building, at least until the 11th century. [ 35 ] [ 33 ] [ 36 ] Construction of the present mosque [ edit ] The current building dates from a Great Seljuk construction in the late 11th century and subsequent work during the 12th century. [ 12 ] [ 37 ] The Seljuks conquered the city in 1085. [ 18 ] Works on the mosque are recorded by a series of inscriptions, most of which remain in situ but some of which have been moved over the years. [ 38 ] The oldest inscription in the mosque is found on the western façade of the prayer hall; it names the Seljuk sultan Malik Shah , who commissioned the construction, and provides the date of construction as 1091–1092 CE (484 AH ). [ 39 ] [ 40 ] The Seljuk mosque's layout is similar to and heavily influenced by that of the Great Mosque of Damascus , built in the early 8th century during the Umayyad period . [ 41 ] [ 37 ] [ 12 ] This influence might be explained by the fact that Malik Shah also carried out restoration work on the Great Mosque of Damascus in 1082–1083, nine years prior to his work on the Great Mosque of Diyarbakir. [ 37 ] [ 42 ] Malik Shah rebuilt the Great Mosque of Diyarbakir as a means of bringing the prestige and glory from Damascus, the capital of Syria, to Diyarbakir in the south of Anatolia. [ 43 ] [ verification needed ] In 1115 [ a ] the mosque was severely damaged by a fire caused by lightning. [ 44 ] [ 22 ] [ 45 ] [ 46 ] A second inscription on the façade of the prayer hall notes work that was done in 1155–1156. [ 47 ] The mosque's minaret has an inscription with the date 1141, [ 48 ] though it seems to refer to work being done on the western and eastern wings of the mosque. [ 47 ] The western and eastern wings of the mosque, which flank the main courtyard, are products of Inalid and Nisanid patronage in the 12th century. Both the Inalids and Nisanids were local dynasties under Seljuk suzerainty. [ 48 ] These sections of the complex are also known as the East and West Maqsuras . [ 17 ] The courtyard façade of the western wing contains two inscriptions: an inscription on the lower level bears the date 1117–1118, while one on the upper level contains the date 1124–1125 and names the son and grandson of Malik Shah. [ 48 ] The eastern wing of the mosque, which also contains the main external entrance leading to the courtyard, bears an inscription dating it to 1163-1164, during the Nisanid period. [ 49 ] The 1155–1156 inscription on the prayer hall façade also makes reference to this eastern section. [ 47 ] The mosque's entrance portal was probably built in its current form between 1155 and 1178. [ 47 ] The elaborately-decorated western and eastern courtyard façades are both notable for the use of spolia from older Byzantine buildings, including columns, Corinthian capitals , friezes with vine motifs, and pieces of Greek inscriptions. [ 50 ] [ 51 ] They appear to have been used deliberately to create a new and consistent decorative program for the courtyard. They were created under the supervision of Hibatallah of Gurgan, the only recorded architect of the mosque, who also completed the prayer hall in 1155-1156. [ 52 ] Later additions and restorations [ edit ] During the Artuqid period, two madrasas were built and added to the mosque complex. The Zinciriye Medrese, dated to 1198, is located nearby as a separate unit. [ 16 ] The Mesudiye Medrese, which occupies part of the north side of the courtyard, was built between 1193–1194 and 1223. [ 47 ] [ 15 ] [ 53 ] [ b ] The courtyard façade of this madrasa is preceded by a portico incorporating spolia of thick antique columns. This was most likely added at the same time as the madrasa, around or before 1223. [ 47 ] Courtyard of the mosque in a 1919 photo After the Ottoman conquest of the city in 1515, a second, smaller prayer hall, known as the Şafi kısmı (the " Shafi'i part") was built next to the mosque's entrance, on the courtyard's north side, to serve the Shafi'i legal school . It is dated by an inscription to 1528–1529. [ 48 ] [ 47 ] The central nave of the prayer hall, much of the hall's interior, and the pitched roof covering it were probably all redone in Ottoman times. [ 47 ] Later renovations include additions from the 18th century under the Ottomans, such as the stone used in the mihrab set in the middle of the qibla wall. [ 54 ] The current minaret was rebuilt in 1839. The shadirvan (fountain) in the center of the courtyard was added in 1849. [ 13 ] Architecture [ edit ] Courtyard [ edit ] Courtyard of the mosque, which has undergone many renovations (2016 photo) The courtyard of the mosque is bound on both the east and west sides by porticoes. Its floor is paved with basalt blocks , with the mosque located on the south side of the courtyard. [ 54 ] The main entrance of the mosque can be found through a portal on its eastern side. [ 51 ] The mosque's eastern and western porticoes each has two stories. Both porticoes own intricate and beautiful stone carvings. The north façade is shorter compared to the other two facades and contains only one story. The south façade, on the other hand, is divided into three unique sections. Two sections are lateral arms, each being only one story high. The two arms are then split in the center by a section that rises more than twice the height of the arms. [ 40 ] Kufic inscriptions found on the building's exteriors record in detail the rebuilding and additions made to the complex throughout its long history. Lavish carving and decoration of the columns in the courtyard are one of the distinguishing features of the Great Mosque. The western arcade of the courtyard includes the first use of the broken arch. [ citation needed ] Eastern façade of the courtyard, with columns and carved decoration (2020 photo) The columns of the courtyard's facades made from four rock types; pre-Tertiary met ophiolite , Eocene limestones, Miocene limestones, and Poli-Quaternary basalts. [ 55 ] While the mosque underwent numerous reconstructions and suffered much damage since its establishment, the original columns were reused during the reconstruction periods of the Great Mosque. This was proven by the lengths of the columns existing in segmented forms, the varied column lengths, and the use of different materials the columns are made of. The columns were originally thought to be structural, but later considered to be in place for either partial support or simply for decoration. [ 55 ] The East Maqsura is a two story structure located on the eastern portion of the courtyard, and is covered with timber and a tile covered roof. [ 54 ] Attached to the courtyard's northern side is the Mesudiye Madrasa . [ 40 ] Prayer hall [ edit ] Interior of the prayer hall (Photo from 2014, after recent restoration) The prayer hall is a wide interior space with three aisles running parallel to the qibla wall (the southern wall, which stands in the direction of prayer). The aisles are divided in the middle by a large central nave which runs perpendicular to the qibla wall. At the southern end of this nave, in the middle of the qibla wall, is the main mihrab . The nave's ceiling features painted decoration. On the outside, the prayer hall is topped by a pitched roof covered with lead plating. The roof of the central nave rises above the rest of the roof on either side. The prayer hall's courtyard façade has two wings on either side which are each pierced with two doors and five windows, while in the middle is a much taller façade corresponding to the central nave inside. The courtyard façade is decorated with garland and meander motifs, as well as an inscription with floral Kufic calligraphy. [ 40 ] [ 54 ] [ dead link ] Significance [ edit ] The mosque, located in the center of the old city, is the largest and most important historic mosque in the Diyarbakir. [ 56 ] It can accommodate up to 5,000 worshippers and is known for hosting four different Islamic traditions. [ 57 ] According to some, it is the fifth holiest site in Islam. [ 5 ] [ 58 ] [ 6 ] [ 7 ] The mosque is also the oldest in Anatolia. [ 12 ] [ 13 ] The attached Mesudiye Medrese, founded in the 1190s, could be the oldest surviving madrasa to teach all four legal schools of Sunni Islam (the other oldest being the Mustansiriya in Baghdad ). [ 59 ] Comparison with the Great Mosque of Damascus [ edit ] Courtyard of the Umayyad Mosque in Damascus, a building whose layout is comparable to the Great Mosque of Diyarbakir (2008 photo) This section needs additional citations for verification . Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. ( January 2022 ) ( Learn how and when to remove this message ) The Umayyad Mosque in Damascus is one of the earliest mosques, and has remained culturally important. Many believe the mosque has served as a prototype for or inspired many mosques later built across the Islamic world, the Great Mosque of Diyarbakır included. While it is easy to spot the similarities between the two, significant differences also exist. Unlike the Great Mosque of Damascus, the Great Mosque of Diyarbakır does not have a dome in the center of its prayer hall. [ 60 ] Over the course of history, Turkey has altered the method of covering mosques with large domes, a tradition since the Ottoman period. [ 60 ] [ better source needed ] This is believed to establish a uniquely Turkish style, one that is distinct from the Arabic style of mosque architecture. The Great Mosque of Diyarbakır also has thick pillars instead of the round columns [ 60 ] often found in Syria, and lacks certain ornamentation in its mosaics. The Great Mosque of Diyarbakir is enclosed and its interior space is not visible from the outside. The mosque's minaret was possibly modeled after Christian bell towers. [ 61 ] [ failed verification ] The proportions of the courtyard and prayer hall, as well as the eastern entrance, and the plan of the prayer hall with its central nave and lateral arms are all similar to the Damascus mosque. When the two mosques are compared, many consider the Great Mosque of Diyarbakır a more modest structure. Some find its architectural features more suitable for reasons of piety. This particular style can also be found in Aleppo and Hama Syria , and other cities of importance in the Islamic world. Gallery [ edit ] Mosque entrance, leading to the courtyard Mosque entrance (closer view) Carving above the entrance Carving above the entrance East façade of the courtyard Detail of decoration on courtyard façade Detail of decoration on courtyard façade Detail of column in courtyard façade Detail of column in courtyard façade Detail of decoration on courtyard façade Inscription detail on courtyard façade Courtyard façade of the prayer hall Interior of the prayer hall Painted ceiling inside the mosque West façade of the courtyard Minaret of the mosque Front façade of the Mesudiye Medresesi, seen from the mosque courtyard Diyarbakır Mesudiye Medresesi Capital of column Courtyard of the Mesudiye Medresesi Mesudiye Medresesi: decoration in the courtyard Mesudiye Medresesi: decoration in the courtyard Mesudiye Medresesi: decoration in the courtyard See also [ edit ] List of Turkish Grand Mosques Notes [ edit ]
|
|
1,092
|
31.2577972°E
|
30.0428250°N
|
Bab Zuweila
|
https://en.wikipedia.org/wiki/Bab_Zuweila
| 10,646
|
Egypt
|
Gate in the wall of the Old City of Cairo, Egypt Bab Zuweila Bab Zuweila or Bab Zuwayla ( Arabic : باب زويلة ) is one of three remaining gates in the city walls of historic Cairo in Egypt. It was also known as Bawabat al-Mitwali or Bab al-Mitwali . The gate was built in 1092 by the Fatimid vizier Badr al-Jamali . The two minaret towers on top of it were added between 1415 and 1422 as part of the construction of the adjacent Mosque of Sultan al-Muayyad . [ 1 ] Today it remains one of the major landmarks of Cairo. Name [ edit ] Its name comes from Bab , meaning "gate", and Zuwayla , a Berber tribe originally from the Fezzan . [ 2 ] This name was given because Fatimid soldiers from this tribe were lodged in this area when the gate was first created in 969 during the Fatimid founding of Cairo. [ 1 ] In Coptic tradition the name was associated with Biblical Zebulun ( Coptic : ⲍⲉⲃⲩⲗⲱⲛ ). [ 3 ] The gate later acquired the popular name Bab al-Mitwali [ 1 ] or Bawabbat al-Mitwali. [ 4 ] According to art historian Caroline Williams, this name dates from the Ottoman period, [ 1 ] while according to Nairy Hampikian the name dates from the 15th century around the time of the construction of the nearby al-Muayyad Mosque , [ 4 ] : 206 by which time the original association with the Zuwayla tribe in the Fatimid period had faded. [ 5 ] The name Mitwali comes from Mitwali al-Qutub, a Muslim saint ( wali ), possibly fictional, who became associated with the area of the gate. [ 4 ] : 206 Construction and restorations [ edit ] Cairo was founded in 969 to serve as the new capital of the Fatimids right after their successful conquest of Egypt . The original walls of the city and their gates were built in mudbrick . The southern gate was called Bab Zuwayla, also known as Bab al-Qus, and it was originally located at a site about 100 metres (330 ft) north of the current gate, close to the present-day mosque of Sam Ibn Nuh. [ 4 ] : 204 In 1092, the Fatimid vizier Badr al-Jamali refortified the city with slightly expanded city walls. The southern gate was rebuilt in stone at its current location and today's structure dates from this time. [ 1 ] [ 4 ] : 204 The upper gate was accessed via an L-shaped staircase on its northeast side. [ 4 ] : 204 After al-Jamali's construction, various other constructions followed around it. A food storage facility called al-Ahra al-Sultaniyya occupied the space on the northwest side of the gate. [ 4 ] : 204 The al-Salih Tala'i Mosque was built on its south side in 1160. After this, various commercial structures were erected on the north side of the gate, including the Qaysariyyat Sunqur al-Ashqar, the Darb al-Saffira, the Qaysariyyat Raslan, the Qaysariyyat al-Fadil, and two hammams (bathhouses). A drinking trough for animals was also added on the south side of the gate. [ 4 ] : 204–205 Mosque of Sultan al-Muayyad , as seen from the minarets on top of Bab Zuwayla. The mosque and the two minarets were built between 1415 and 1422. In 1218, al-Ahra al-Sultaniyya was replaced by a prison known as Shama'il's prison. [ 4 ] : 204 This prison at one point held the future Sultan al-Mu'ayyad Shaykh , who was imprisoned during the reign of Faraj ibn Barquq and vowed to turn the prison into a religious and educational complex if he ever came to power. In 1408, al-Mu'ayyad built a zawiya (meaning a small prayer room) and sabil (water dispensary) to the south, directly across from the gate, and after winning the Mamluk throne he demolished the prison and replaced it with the large Mosque of al-Mu'ayyad Shaykh between 1415 and 1422. [ 1 ] [ 4 ] : 205 He re-used the two bastions of the gate as bases for two minarets to accompany his mosque, which remain standing today. Inscriptions on the minarets record the name of the craftsman or architect, al-Mu'allim Muhammad ibn al-Qazzaz, and their completion: the western minaret was finished in 1419 and the eastern one in 1420. [ 1 ] A new vaulted space was carved out inside the gate's structure in order to accommodate a secondary entrance to the mosque and to house a library ( kitabkhana ). In addition to the mosque, al-Mu'ayyad constructed other commercial structures in the vicinity, including shops inside the gate's passage and along the façade of his mosque, and he attached a residential complex ( tibaq ) to the top of the gate. [ 4 ] : 205–206 Illustration by David Roberts circa 1848, showing the white and red stripes formerly painted over the gate The next major changes to the area occurred around 1650 when Radwan Bey constructed a market street (today's al-Khayyamiyya ) and a palatial complex just south of the gate. [ 4 ] : 206 It may be around this time that the gate was plastered and given white and red stripes, which are visible in old paintings and photos of the gate. During the 18th century, urban and residential construction encroached on the area, covering parts of the old city wall as well as the staircase that led to the upper part of the gate. Among these constructions were two large houses named after al-Alayli and al-Qayati, which stood on the southeast side of the gate. [ 4 ] : 206–207 The red and white stripes were probably re-painted before the opening of the Suez Canal in 1869. Sometime between 1860 and 1875, the tops of the minarets collapsed, while in 1880 a flat stone lintel beneath the arch of the gateway was destroyed in order to make room for the mahmal procession. [ 4 ] : 207 View of street to the east of Bab Zuwayla in 1867, with the old houses of al-Alayli, al-Qayati and others visible on the right From the 1880s onward, the newly created Comité de Conservation des Monuments de l'Art Arabe (charged with conservation and restoration of the city's Islamic-era monuments) began a series of works to restore the gate and the nearby mosques. These works also cleared or moved many of the urban structures that had encroached on the gate over the previous centuries. [ 4 ] The most recent major restoration was carried out between 1999 and 2003 by the American Research Center in Egypt . During this work, the base of the gate and its doors were excavated, [ 1 ] as the ground level has risen nearly two metres since the Fatimid period. [ 1 ] [ 6 ] : 76 Historical uses [ edit ] The gate also served as a venue for public executions and the heads of executed criminals or political enemies were often put on display on spikes above the gate. [ 1 ] One such occurrence was in 1260, when the Mongol leader Hulagu was preparing to attack Egypt and sent six messengers to the Mamluk ruler Qutuz in Cairo, demanding his surrender. Qutuz responded by killing the six envoys, halving them at the waist, and displaying their heads on Bab Zuweila. The Mamluks went on to confront and defeat the Mongols at the Battle of Ain Jalut . [ 7 ] The last Mamluk sultan, Tuman Bay II , was hanged here in 1517 on the orders of Selim II after the Ottoman conquest of Egypt . [ 1 ] [ 8 ] The gate was still used as a place of execution in the time of Muhammad Ali in the early 19th century. [ 9 ] In the early Mamluk period , sultans would sit on the platform above the gate to watch the procession carrying the mahmal (ceremonial palanquin ) as part of the annual pilgrimage ( hajj ) to Mecca . [ 1 ] On a daily basis, drummers would also be positioned on this platform and would play their drums whenever an important Mamluk amir (commander) entered the city. [ 1 ] At some point, a tradition developed whereby the gate also became a religious site associated with Mitwali al-Qutub, an imaginary Muslim saint ( wali ) whose name also became the popular name of the gate. Local people came to pray here for the saint's intercession in times of need. [ 1 ] [ 4 ] : 206 They would hang hair, a piece of clothing, or some other item on the doors of the gate in order to supplicate for Mitwali's assistance against sickness. [ 1 ] Architecture [ edit ] The gate's design resembles Bab al-Futuh to the north, consisting of two semi-circular bastion towers with an arched passage between them, built in stone. A platform and a vaulted loggia sits atop the structure. [ 6 ] : 72 The inner sides of the towers, on either side of the entry archway, are decorated with blind multilobed arches . Such arches existed in western Islamic architecture and may reflect the influence of North African craftsmen that the Fatimids brought east with them when they took over Egypt. [ 6 ] : 72 The massive doors of the gate are made of wood [ 4 ] : 204 and each door leaf weighs about three and a half tons. [ 1 ] The former lintel of the gate's archway, rediscovered during the restoration works of 1999–2003, was a spoliated stone block from the Pharaonic era , originally from the Temple of On in Heliopolis . [ 1 ] The original inscriptions on the gate have not survived intact. Only one partially-preserved inscription in Kufic Arabic can be seen, above the main archway. It contains the shahada in its Shi'i form, which translates as: "In the name of Allah the Beneficent, the Merciful. There is no deity other than God alone, He has no associate. Muhammad is the messenger of God, ‘Ali is the friend of God. May God bless them both, and the Imams, and all their progeny." [ 10 ] This is then followed by the Throne Verse of the Qur'an . The Shi'i wording is indicative of the Fatimid period and the full inscription was probably similar to those of the contemporary Bab al-Futuh and Bab al-Nasr gates. [ 10 ] On the inside, the gate's passageway is covered by a dome with pendentives . [ 4 ] : 204 On the east side of the passage (on the right when entering the city) is a large niche covered by a semi-dome with two decorative squinches carved with shell motifs. On the west side is a large opening with an iron grille and a muqarnas cornice above, which dates to the modifications made under Mamluk sultan al-Mu'ayyad . [ 6 ] : 72 The design of the gate, and of Badr al-Jamali's fortifications in general, appears to come from Byzantine and/or northern Syrian influences. [ 6 ] : 72 [ 1 ] The Mamluk-era historian al-Maqrizi states that the three surviving gates of this period (Bab Zuwayla, Bab al-Futuh, and Bab al-Nasr) were designed by three Christian monks from Edessa (present-day Urfa in Turkey). Creswell believed that it reflected Armenian influences due to Badr al-Jamali's Armenian ethnicity, but no surviving examples of Armenian architecture can confirm this. [ 6 ] : 72 Archway of the gate One of the decorative multilobed arches carved into the sides of the gate's bastions The domed passage of the gate Niche on the east side of the gate's passage Opening on the west side of the gate's passage Hall and exhibition space inside the western bastion Platform and loggia above the gate Detail of one of the minarets above the gate See also [ edit ] Gates of Cairo Citations [ edit ]
|
|
1,095
|
9.0803944°E
|
45.8025194°N
|
Basilica of Sant'Abbondio
|
https://en.wikipedia.org/wiki/Basilica_of_Sant%27Abbondio
| 3,585
|
Italy
|
This article has multiple issues. Please help improve it or discuss these issues on the talk page . ( Learn how and when to remove these messages ) This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "Basilica of Sant'Abbondio" – news · newspapers · books · scholar · JSTOR ( October 2021 ) ( Learn how and when to remove this message ) This article includes a list of references , related reading , or external links , but its sources remain unclear because it lacks inline citations . Please help improve this article by introducing more precise citations. ( October 2021 ) ( Learn how and when to remove this message ) ( Learn how and when to remove this message ) Apse area. Internal view of the nave. The Basilica of Sant'Abbondio is a Romanesque -style 11th-century Catholic basilica church located in Como , region of Lombardy , Italy . Description [ edit ] The current edifice rises over a pre-existing 5th century Palaeo-Christian church entitled to Sts. Peter and Paul , built by order of St. Amantius of Como , third bishop of the city. Erected c. 1 km outside the city's walls, it was intended to house several relics of the two saints which Amantius had brought from Rome. The basilica acted as bishop's seat until 1007. Six years later bishop Alberic moved the seat within the walls. The basilica was then entrusted to the Benedictines who, between 1050 and 1095, rebuilt it in Romanesque style. The new edifice was dedicated to Amantius' successor, Abundius . The structures of the Palaeo-Christian church, discovered in 1863 during a restoration, are still marked by black and pale marble stones in the pavement. The new basilica had a nave and four aisles. It was consecrated by pope Urban II on June 3, 1095. The church has two notable bell towers rising at the end of the external aisles, in the middle of the nave. The sober façade, once preceded by a portico, has seven windows and a portal. Notable is the external decoration of the choir's windows. There are also Romanesque bas-reliefs and, in the apse, a notable cycle of mid-14th-century frescoes. Under the high altar are the Abundius' relics. The medieval monastery annexed to the church, recently restored, [ when? ] acts as the seat of the local faculty of jurisprudence. [ citation needed ] Wikimedia Commons has media related to Sant'Abbondio (Como) . References [ edit ]
|
|
1,096
|
0.57750°W
|
44.83778°N
|
Bordeaux Cathedral
|
https://en.wikipedia.org/wiki/Bordeaux_Cathedral
| 27,223
|
France
|
Historic Catholic cathedral in Bordeaux Bordeaux Cathedral Cathédrale-Primatiale Saint-André de Bordeaux The north front of the cathedral Religion Affiliation Catholic Church District Archdiocese of Bordeaux Ecclesiastical or organizational status Cathedral Location Location Bordeaux , Gironde , Nouvelle-Aquitaine , France Geographic coordinates 44°50′16″N 0°34′39″W / 44.83778°N 0.57750°W / 44.83778; -0.57750 Architecture Type Church Style Gothic , Romanesque Materials UNESCO World Heritage Site Official name Part of Routes of Santiago de Compostela in France Criteria Cultural: (ii), (iv), (vi) Reference 868 Inscription 1998 (22nd Session ) Bordeaux Cathedral , officially known as the Primatial Cathedral of St Andrew of Bordeaux ( French : Cathédrale-Primatiale Saint-André de Bordeaux ), is a Catholic church dedicated to Saint Andrew and located in Bordeaux , France . It is the seat of the Archbishop of Bordeaux . In 1998, UNESCO designated the Routes of Santiago de Compostela in France as a World Heritage Site , including the three main churches of Bordeaux: the basilica of St Severinus , the basilica of St Michael and the cathedral of St Andrew. History [ edit ] Carolingian and Romanesque church [ edit ] Romanesque capital from old cathedral The wedding of Louis VII of France and Eleanor of Aquitaine (1137) A church of Saint-André was first mentioned in Bordeaux in documents dating from 814, in the Carolingian period. This church was probably part of group of churches, including the Basilica of Saint Severinus of Bordeaux and Notre-Dame-de-la-Place, located in the old castrum or Roman fortified town. It appears more officially in 1096 in a document from the chancellery of Duke William IX of Aquitaine . In that year it was formally consecrated by Pope Urban II . [ 1 ] In the 11th and 12th centuries, the Romanesque church was engaged in long competition with its neighbouring church, Saint Sevrinus of Bordeaux, to attract pilgrims taking part in the Pilgrimage to Saint-Jacques de Compostelle . Saint Severinus had what Bordeaux Cathedral did not, the remains of the companions of Saint Jacques, as well as the oliphant or hunting horn of Roland , a relic placed there by Charlemagne . However, Saint André gradually gained influence and became the leading church of Aquitaine . Until this time it was under the jurisdiction of the Archbishop of Bourges Cathedral , but under Pope Clement IV Saint-André began reporting directly to Rome. It also took jurisdiction over churches in Agen , Périgueux , Angoulême and Saintes . [ 1 ] In 1137 the 13-year-old Eleanor of Aquitaine married the future Louis VII of France , in the cathedral. A few months later, the King's father died, and Eleanor became the Queen of France. She later divorced and in 1152 she married Henry II , and became Queen of England, and mother of King Richard the Lionheart and King John of England . The Romanesque church had been begun sometime before 1170, atop masonry from the earlier Carolingian church. It nave seems to have had three rectangular traverses, and an asymmetric transept, with a plan of adding several cupolas, similar to the church of St. Maurice in Angers . However, at the beginning of the 13th century it was decided to continue building the cathedral following the new Gothic style that had appeared at the end of the 12th century in the Ile-de-France . The old sanctuary was gradually demolished. Of the Romanesque church, only a wall in the nave remains. [ 1 ] The Gothic cathedral (14th–15th centuries) [ edit ] Map of Bordeaux in the 14th century, with cathedral at top left center, next to the larger rival Basilica of Saint Severinus of Bordeaux The transformation from Romanesque to the French Gothic architecture took place during a long period when Aquitaine and Bordeaux were under the control of the English. [ 2 ] It was assisted by the support of the archbishop of Bordeaux, Bertrand de Goth , who from 1305 until 1314 reigned over the Catholic church as Pope Clement V , and directed numerous donations and concessions to the new cathedral. [ 1 ] The choir of the new cathedral was still under construction in 1320, when Bertrand Deschamps became the master builder. Construction of the nave was greatly delayed by the outbreak of the Hundred Years' War in 1337 between England and the Valois kings of the Kingdom of France. The plan of the nave was reduced in scale from three aisles to a single aisle. Work continued principally on the decor. The construction of the bell tower, separate from the main building, began in 1440, but was not finished until 1500. Following an earthquake in 1427 that caused the collapse of parts of the city ramparts, flying buttresses were added to the outside of the nave under master builder Imbert Boachon. [ 3 ] Renaissance and Revolution (16th–18th centuries) [ edit ] The wedding of Louis XIII and Anne of Austria (1615) In the 16th century, Renaissance decorative elements were added to the Gothic structure, including an ornamental jubé or rood screen between the choir and the nave. It was taken down in 1806, but elements of it can now be seen on the tribune of the organ. The seventeenth century saw the reconstruction of the spires, but few changes in the interior. Between 1772 and 1784, under Cardinal de Rohan, the archbishop proposed giving the archbishop's palace classical facade. A fire in 1787 caused serious damage to the roof of the choir and transept. [ 3 ] The royal wedding of Louis XIII and Anne of Austria , the daughter of King Philip III of Spain and Archduchess of Austria, took place in the cathedral in 1615, cementing alliance between Spain, Austria and France. It led in 1638 to the birth of Louis XIV of France . During the French Revolution, the furniture and much of the decoration of the cathedral was removed or vandalised. A portion of the exterior sculpture, on the north side, was hidden by the neighbouring buildings, and was spared. In March 1793 the building was officially nationalised, and transformed into a storage barn for the feed of military horses. The nave was used in 1797 for political meetings and patriotic assemblies. The tower was threatened with destruction, and most of the furniture was gone when the building was finally returned to the church in 1798. [ 4 ] 19th–20th centuries [ edit ] The cathedral in 1865, as the old constructions to the north were removed A long series of renovations and reconstructions began in 1803 and continued throughout the century. The most ambitious reconstructions were carried out by Paul Abadie , best known as the architect of the Basilica of Sacré-Cœur in Paris, and a student of Eugène Viollet-le-Duc . The later constructions in front of the north side of the nave in Bordeaux were removed in 1866, making that part of the cathedral more visible. In 1862 Abadie proposed to build new sacristies to replace the old cloister, much larger than the original sacristies. Abadie's plan was opposed by the Bordeaux archeologist Leo Drouyn, who felt that Abadie's changes were based more on Abadie's imagination of the Gothic style than the historic reality of the original building. Drouyn insisted on a more strict recreation of the medieval Bordeaux style. In the end, however, the version of Abadie prevailed. [ 5 ] Restoration and reconstruction continued throughout the 20th century. The west vaults of the nave were strengthened between 1907 and 1909; the west spire of the north transept in 1943, and the east tower in 1958. The roofs of the ambulatory and chapels were finished in 1990, followed by work on the northwest chapel, the sacristy, and axis chapel, and the facades of the transept. In 1997–98, the north portal walls were cleaned of centuries of grime and soot with lasers. [ 5 ] Exterior [ edit ] North transept and the royal portal [ edit ] North side and the north portal The north portal Tympanum and voussoirs of the royal portal (1200–1250) The north portal of the cathedral, which enters the north transept, is known as the portal of spires and was considered the most prestigious entrance. It dates to about 1325–1350. The two spires on the towers were reconstructed several times; 1665 and 1952 for the west spire, and 1958 for the east spire. [ 6 ] To the west of the north portal, the bays date to around 1210; to the east, in the second half of the 13th century. The north side of the cathedral nave has foundations twelve meters wide and reaching six meters underground to the bedrock beneath. Despite this, the north walls of this part of the cathedral have had a history of stability problems, and have required the construction of additional flying buttresses over the years. The largest of these, called the Gramont buttress after archbishop Gabriel Gramont and his successor Charles Gramont, was begun in 1531 and is a monument in itself. It has the flying arches of a Gothic buttress, but is covered with has lavish Renaissance decoration, including a host of small putti, or angels, and carved inscriptions describing the Biblical Day of Judgement . [ 7 ] Another feature of the north front is the royal portal, which is located between the Gramont buttress and the sacristy. This doorway opened into the transept and choir and served as the main entrance to the cathedral until the 1320s when the north portal was opened. The sculpture of the tympanum of the royal portal was made in between 1200 and 1250 and is considered some of the oldest and best of the cathedral. It was spared destruction because the portal at the time of the Revolution was hidden by other structures. The sculpture of this tympanum was used as a model for the recreation of the tympanum of the central portal of Notre Dame de Paris in the 19th century, which had been destroyed during the Revolution, and which dated from the same period. [ 7 ] South transept and south side [ edit ] Surviving sculpture in south voussoirs South front and towers, with the cathedral bells South rose window Surviving sculpture of the south voussoirs Surviving sculpture in south voussoirs (14th century) The south front of the transept is flanked by two towers which were built to contain the Cathedrals' bells. They were originally intended to have spires, which were never built. The lower portions below the rose window date to the early 14th century, and are older than the north transept. However, most all of the original sculptural decoration was destroyed during the Revolution. Portions of The tympanum and the trumeau of the south portal were destroyed in 1794 to allow wagons carrying supplies to pass through the portal. Some sculptures in the voussoirs did survive; it is now attributed to a Toulouse sculptor of the 14th century, Petrus de Sancto Milio, the leader of the prominent school of sculpture of southern France and northern Spain. [ 8 ] West front [ edit ] The west front, with its massive buttresses The west front of Bordeaux Cathedral, unlike the west fronts of most other Gothic cathedrals, is entirely without decoration. It was concealed by other buildings until 1772 when the other structures were demolished. The doorway is also a late addition, made in 1805. Excavations in 1954 showed that the bare wall was part of the original Romanesque nave built in the 11th century, which was raised in height and widened in the 12th and 13th centuries. The early buttresses are still in place. [ 9 ] A prominent feature of the south side is the row of buildings with neo-Gothic facades called the New Sacristies, which are placed against the south wall between the buttresses. They contain the baptismal chapel, the sacristies, a chapel for catechisms, a chapter house, a bedroom for the bishop, and other functional spaces. These were constructed in 1869 and 1879 by the 19th-century architect Paul Abadie in the place of the medieval cloister. [ 10 ] Choir and chevet [ edit ] The chevet seen from the Pey-Berland tower The chevet with its radiating chapels The choir and chevet are traditionally at the east of the cathedral, facing the sunrise. At Bordeaux, as in other cathedrals of the period, the chevet is surrounded by radiating chapels. The flying buttresses, between the chapels, reach up to support the upper walls of the choir. Pey-Berland Tower [ edit ] The tower and the cathedral The Pey-Berland tower (15th century) The statue of Our Lady of Aquitaine atop the tower (1863) One of the tower bells The Pey-Berland tower, in the flamboyant Gothic style, was added to the cathedral by Archbishop Pey Berland, who laid the first stone on October 13, 1440. It is located about twenty meters from the chevet of the cathedral. It is slightly over sixty meters high, on a base eight meters on each side. It was intended to have a much higher steeple, but the original stone steeple, 12.5 meters high, was blown down in a hurricane in 1667. The remains of the steeple were taken down during the Revolution, then reconstructed in 1851. The statue of Our Lady of Aquitaine, made of gilded metal by the sculptor Alexandre Chertier, was added in 1863. [ 11 ] Interior [ edit ] Nave [ edit ] Looking east from the nave to the choir The nave looking west, with its decorative 16th-century lierne vaults and the pulpit on the right The nave is the portion of the cathedral where the ordinary churchgoers are seated, between the west front and transept. It is considerably narrower than the choir. It was first covered with four-part rib vaults in the first half of the 13th century. In the 16th century, some of the nave traverses were reconstructed with the more ornate lierne vault , which have purely decorative additional ribs. The vaults are further decorated with keystones bearing the arms of the Archbishop Jean de Foix, and carved figures of the patron saint of the cathedral, Saint Andrew . The elevation is very different from that of the Ile-de-France Gothic churches, due to the reconstructions at different periods in different styles. The north side of the nave has deep niches with windows on the ground floor, while the south side, from the 12th century, flanking the new sacristies, has a largely blank wall. The elevation also is influenced by a tradition of Gothic architecture in western France of creating a "line of domes'; several traverses aligned and covered with domes. In Bordeaux the elevation is composed of groups of three arcades, topped with a narrow passageway cut into the thickness of the wall, and above that the high windows fitting into arched ceiling vaults. The massive clusters of columns that form the piers of the arcades have capitals with vegetal designs. Transept and the choir [ edit ] The vaults of the transept and choir The high altar and choir stalls Detail of a misericorde of a choir stall seat The transept is the meeting point between the nave and the choir, and the traditional site of the main altar. The choir is the portion of the cathedral traditionally reserved for the clergy, where the choir stalls are located. While the nave of Bordeaux cathedral is composed of a mixture of elements of different periods and styles, the choir is rigidly of a single style. Further complicating matters, the choir has a different height and width than the nave, which required considerable architectural finesse to join to the nave. [ 12 ] The carved misericordes in the choir are one of the distinctive artistic features of the cathedral. Each with a different image, they were made so that, when the seat was folded up, and the clergy members had to stand for long periods of time, they could use the misericorde for support. Chapels [ edit ] Joan of Arc, by Antoine Bourdelle (19th c.) Ambulatory from the choir to the chapels, with ornamental screen Chapel of the Virgin, at the east end of apse Statue of Saint Anne and the Virgin Mary, outside the Saint Anne chapel Four chapels radiate off the east end, all in similar styles, dedicated to the Annunciation , Margaret Mary Alacoque , Saint Anne and Saint Charles Borromeo . The chapel of the axis is dedicated to the Holy Sacrament or Sacred Heart ; it displays the most decoration, with tracery, blind arcades and relief sculpture, and a gable over the altar. The stained glass windows are all from the 19th century. The Chapel of Saint Anne preserves faded murals from the 14th century depicting the Saint's life. In the ambulatory outside the chapel is a statue of Saint Anne with the young Virgin Mary (16th c.). Other chapels are located on the north and south side. Several small chapels were consolidated in the 1850s and 1860s to create the chapel of Saint Joseph on the south side and Our Lady of Mount Carmel on the north side, dedicated to the Carmelite prior Saint Simon Stock , who died in Bordeaux in 1265. [ 11 ] A bronze statue of Joan of Arc is placed outside the Chapel of Saint Anne. It is a cast from a model by Antoine Bourdelle , a student of Rodin and one of the founding figures of Art Deco . Organ and tribune [ edit ] The Grand organ and its tribune with sculpture The grand organ of the cathedral is located on a tribune over the doorway to the west front. An earlier grand organ, made by Dom Bedos de Celles, had been in this place from 1811 until 1980, when it was returned to its original home at the Abbey of Saint-Croix. The present organ was installed in 1982. [ 13 ] The tribune upon which the organ is placed, and the walls on either side of the portal, are decorated with exceptionally fine relief sculptures, which were originally a part of the old rood screen between the choir and the nave. They date to before 1544. The sculpture shows the influence of the Italian artist Rosso Fiorentino , who had introduced the Renaissance style to France at the Palace of Fontainebleau shortly before this time. [ 13 ] Bells [ edit ] The cathedral has 4 bells located in the Pey-Berland Tower. The lower level has two large bells, Marie and the bourdon Ferdinand-André II . Both are cast by the Bollée foundry in Le Mans and currently hung dead, however they toll rather than swing. The “II” of Ferdinand-André II is significant because it replaced a short-lived 11-ton predecessor which was cracked upon delivery and had to be melted down. The upper level has 2 smaller bells, Marguerite and Clémence , These two bells currently operate and chime to mark services, masses, weddings and funerals at Saint-André. Since 1925, electric motors have been used and they are controlled from inside the cathedral itself. Stained glass windows [ edit ] Top of central window in the axis chapel - "Alpha and Omega" The crucifixion and Saint John (detail) Axis chapel window Saints and Apostles window King David and Old Testament figures Saint Catherine and Margaret of Antioch Only a few pieces of medieval glass still remain in the cathedral windows, integrated into the rose window of the north transept. The rest of the windows date to the 19th century. They were installed by glassmaker Joseph Villiet beginning in 1852, and by his successor, Henry Feur. Their windows fill the walls of the chapels and the high windows of the choir. Marcadé collection [ edit ] The cathedral is home to the Marcadé collection, which consists of a group of forty-two illuminations, among other objects (paintings, sculptures, liturgical vestments and silver objects). It was given to Bordeaux Cathedral by Canon Marcadé in 1947. These illuminations have been exhibited starting in 2015 in the cathedral, in a room specially designed for this collection. [ 14 ] Gallery [ edit ] Cathedral clock St Augustine , St Blaise and St Macarius Access [ edit ] The site is served by line A and line B of the tramway de Bordeaux at Station Hôtel de Ville . See also [ edit ] French Gothic architecture Gothic cathedrals and churches List of cathedrals in France List of Gothic Cathedrals in Europe World Heritage Sites of the Routes of Santiago de Compostela in France History of medieval Arabic and Western European domes France portal Architecture portal Catholicism portal Citations [ edit ] Article incorporates text licensed under the CC-by license from Heritage Science as cited
|
|
1,096
|
0.2742°W
|
50.8329°N
|
St Mary de Haura Church, Shoreham-by-Sea
|
https://en.wikipedia.org/wiki/St_Mary_de_Haura_Church,_Shoreham-by-Sea
| 2,312
|
United Kingdom
|
Church in West Sussex , England St Mary de Haura Church The church from the northeast 50°49′58″N 0°16′27″W / 50.8329°N 0.2742°W / 50.8329; -0.2742 Location Church Street, New Shoreham, Shoreham-by-Sea , West Sussex BN43 5DQ Country England Denomination Church of England Website www.stmarydehaura.org.uk History Status Parish church Founded c. 1096 Founder(s) William de Braose, 1st Lord of Bramber Dedication St Mary de Haura (St Mary at the Harbour) Dedicated c. 1096 Architecture Functional status Active Heritage designation Grade I Designated 8 May 1950 Style Norman Administration Province Canterbury Diocese Chichester Archdeaconry Chichester Deanery Rural Deanery of Hove Parish New Shoreham: St Mary de Haura Clergy Vicar(s) Rev. Andrew Bennison St Mary de Haura Church is an Anglican church in the ancient "New Shoreham" area of Shoreham-by-Sea in the district of Adur , one of seven local government districts in the English county of West Sussex . It was founded at the end of the 11th century as a large cruciform church which, due to its original scale, has been described as a collegiate church —a reflection of the port of Shoreham's importance at the time. The former east end of that building survives to form the present church, and much 12th-century work remains. It functions as Shoreham-by-Sea's "town church" for major religious and social events, as well as serving as the town-centre parish. English Heritage has listed it at Grade I for its architectural and historical importance. History [ edit ] Old Shoreham was a mostly agricultural village on the east bank of the River Adur . [ 1 ] Claims that it was founded near the place ( Cymenshore ) where Ælle of Sussex —the first King of the South Saxons —came ashore in 477 have been disproved, but it had become a successful village by the time of the Domesday survey in 1086, supporting a population of 76. [ 1 ] In the decade after this, William de Braose, 1st Lord of Bramber or his son Philip founded a new settlement to the south, on the estuary where the Adur flowed into the English Channel . This may have been a result of William de Braose's failure to gain control of the harbour upstream at Steyning . [ 1 ] The settlement, named New Shoreham, was planned on a grid pattern of streets based around the High Street. [ 1 ] [ 2 ] Its harbour quickly became prosperous and successful: it overcame the competition from contemporary inland Sussex ports such as Arundel and Steyning, and gained royal patronage when King John's fleet was stationed there in the early 13th century. [ 2 ] Its importance was further enhanced by its position as the closest English Channel port to London . [ 1 ] [ 3 ] William the Conqueror had granted the Rape of Bramber , one of the six Rapes (subdivisions) of Sussex , to the de Braose family in the 11th century. Shortly afterwards, they founded a new church to serve the new settlement. [ 2 ] William de Braose died no later than 1096, which has been suggested as the date of founding, [ 4 ] but the first documentary evidence was a deed dated 1103, referring to Philip de Braose's return from the First Crusade . [ 5 ] At this time, he granted the advowson of the church to an abbey in the French town of Saumur , which held it until about 1250. [ 4 ] [ 5 ] This abbey had an associated priory at Sele (present-day Upper Beeding ), further up the river Adur, which became the church's patron in 1250. The patronage later transferred to Magdalen College, Oxford , and in 1948 to the Bishop of Chichester . [ 4 ] Locally, the church had originally been administered from St Nicolas' Church in Old Shoreham, but it was given its own parish in the late 12th century. The two churches have been part of a united benefice , served by the same vicar, since 1897, however. [ 4 ] The present building—a large edifice itself, bigger than the small-scale buildings of the town— [ 6 ] [ 7 ] is merely the surviving east section of a much more substantial church, which would have been cruciform when built by the de Braoses. [ 4 ] [ 7 ] Although it was never more than a parish church , [ 6 ] it may have been planned as a priory or collegiate church , or would have become one if the Port of Shoreham and the de Braose family had retained the power and influence they had in the 12th and 13th centuries. [ 4 ] [ 6 ] [ 7 ] [ 8 ] By 1500, however, no male heirs were left and the de Braoses' estates and holdings were broken up; and erosion and changing tidal activity made the port dangerous to sail into and had washed away parts of the grid-pattern town. [ 2 ] New Shoreham was therefore left with a church of a much larger scale than it could support—it was described by Edward Augustus Freeman [ 6 ] as "a parish church absolutely without a fellow in England". As originally built, the church had a tower and a nave , beyond which was a chancel with an apse and east-facing rounded chapels at the east end; [ 7 ] the outline of these can still be discerned. [ 5 ] Later in the 12th century (probably from the 1170s onwards) [ 5 ] [ 9 ] everything beyond the nave was replaced with a tall, expansive quire with five bays , a quadripartite (four-celled) rib vault , aisles with their own vaulting, a triforium and a clerestory . [ 4 ] [ 5 ] [ 9 ] This work took several decades and was undertaken for William de Braose, 3rd Lord of Bramber , Philip de Braose's son. [ 8 ] Flying buttresses were added to the exterior to support the vaulted aisles soon after they were built—an early usage of this structural technique. [ 7 ] The church had reached its greatest physical extent by about 1225, when this work was completed. [ 7 ] Its influence was also at its highest, as it had gained administrative independence from St Nicolas' Church, the de Braoses still wielded considerable power and the Port of Shoreham was thriving: [ 9 ] King John stationed ships there and established a prison in 1221. New Shoreham even challenged Chichester 's long-established position as the county town . [ 1 ] A vicarage was founded in 1261; it was disestablished in 1897 when the vicarages of Old and New Shoreham were combined in a united benefice. [ 4 ] Over the following centuries, Shoreham's influence declined as its old trade routes (especially to France) were lost and the port was affected by erosion. [ 2 ] [ 4 ] Minor structural alterations took place, such as the construction of a porch, a rood screen and an accompanying altar , but the fabric of the church gradually disintegrated. [ 4 ] It worsened during the 17th century, and the original (1130s) nave collapsed in storms in about 1700, [ 4 ] [ 6 ] [ 8 ] reducing the length of the church by about half. [ 7 ] The rubble was cleared in the early 18th century, [ 9 ] although part of one of the bays survived and has been incorporated into a porch. [ 10 ] The quire was altered to form a new nave and chancel. [ 4 ] [ 9 ] During the 19th century, some work was undertaken in the interior, including Arthur Loader's replacement of some original Perpendicular Gothic-style aisle windows with Norman-style equivalents in 1876. [ 4 ] [ 11 ] The north transept was converted into a memorial for the war dead after the Second World War . [ 4 ] Architecture [ edit ] This view from the southeast shows the south transept , flying buttresses and two-stage tower with its two- and three-light openings. The church is a pale stone and cobbled flint structure with some ashlar work. Tiles manufactured in Horsham of local stone cover the roof. [ 4 ] [ 9 ] A less durable stone was used for interior structures; some of these (for example a door at the west end) were exposed by the collapse of the original nave, and have experienced severe weathering . [ 7 ] The earliest surviving parts of St Mary de Haura Church are the transepts and their associated chapels, part of the tower and some of the tower arches with their large scalloped and leaved capitals ; [ 11 ] these are believed to date from 1130 at the latest, and possibly from much earlier in the 12th century. [ 5 ] [ 7 ] [ 9 ] Part of one of the six bays of the original nave also remains, although it was restored in the 18th century. [ 11 ] The tower, flanked by transepts, perches on top of the roof at the west end and was built in two stages, both in the 12th century. The lower stage, dating from about 1130, has paired two-light openings in rounded arches on each side; the upper stage has larger three-light openings in pointed arches, and was built in the 1170s. [ 11 ] There is also a clock on each side, at the top of the upper stage. Nikolaus Pevsner called it a "noble composite" and drew comparisons with church towers in northern France . [ 11 ] Inside, the east, north and south tower arches date from about 1130 and have scalloped capitals; the west arch may be later and is taller, and has roll-moulding and other intricate decoration. [ 9 ] [ 11 ] Interior: the tower arches at the west end The former quire, with its five bays and low-vaulted aisles, has become the nave and chancel. [ 9 ] The tall, four-celled vaulting extends across this space and gives the church a spacious feel. The architectural details of this area are varied, incorporating elements of late Norman and early Gothic design. [ 7 ] [ 12 ] For example, the alternating octagonal and round columns in the north aisle are a typical Norman feature, whereas those in the south aisle are more in the early Gothic style. [ 8 ] [ 9 ] [ 13 ] The north aisle's columns have been compared to those of the contemporary Canterbury Cathedral , although their capitals are different; [ 12 ] and it has been described as "[along] with Canterbury, the most continental of English churches". [ 14 ] The church today [ edit ] St Mary de Haura Church was listed at Grade I by English Heritage on 8 May 1950. [ 9 ] Such buildings are defined as being of "exceptional interest" and of the greatest national importance. [ 15 ] As of February 2001, it was one of seven Grade I listed buildings, and 119 listed buildings of all grades, in Adur district . [ 16 ] The parish , which was established in the late 12th century when the church became independent from St Nicolas' Church, [ 4 ] is small—the extent of its land area is 116 acres (47 ha). [ 1 ] It covers the ancient grid-pattern town centre and High Street area, as well as a small section of land on the west side of the River Adur . [ 17 ] The main service of the week is the Sunday morning Eucharistic service at 10.00am. A Sunday evening service is also held every week; these include traditional Evensong and ecumenical services with Shoreham-by-Sea's other churches. [ 18 ] Although St Nicolas' Church, inland at Old Shoreham, is older, St Mary de Haura's size and central location makes it the de facto "town church" of Shoreham-by-Sea, and it is the venue for regular events such as Remembrance Sunday and the services of Holy Week and Christmas. [ 19 ] See also [ edit ] List of places of worship in Adur References [ edit ] Notes [ edit ]
|
|
1,097
|
0.12537°W
|
51.49986°N
|
Westminster Hall
|
https://en.wikipedia.org/wiki/Westminster_Hall
| 69,215
|
United Kingdom
|
Medieval great hall in London, England The interior of the hall Westminster Hall is a medieval great hall which is part of the Palace of Westminster in London, England. It was erected in 1097 for William II (William Rufus), at which point it was the largest hall in Europe. [ 1 ] The building has had various functions over the years, including being used for judicial purposes from the twelfth to the nineteenth centuries. When a joint address is given to the two chambers of the UK Parliament, the House of Commons and House of Lords, the hall is on rare occasions the venue. It is also used for special addresses by Parliament to the Monarch. It was used to host coronation banquets until 1821, and since the twentieth century has been the usual venue for the lyings in state of state and ceremonial funerals . The fabric of the hall is particularly notable for its hammerbeam roof , a form typical of English Gothic architecture which uses horizontal trusses to span large distances. The roof was commissioned for Richard II in 1393 and built by the royal carpenter, Hugh Herland . [ 2 ] It is the largest clearspan medieval roof in England, measuring 20.7 by 73.2 metres (68 by 240 ft). [ 3 ] [ 4 ] At the same time the rest of the hall was remodelled by the master mason Henry Yevele . [ 5 ] The renovations include eighty-three unique depictions of Richard's favourite heraldic badge, a resting chained white hart . [ 6 ] History [ edit ] Westminster Hall has served numerous functions. Until the 19th century, it was regularly used for judicial purposes, housing three of the most important courts in the land: the Court of King's Bench , the Court of Common Pleas and the Court of Chancery . In the reign of Henry II (1154–1189) a royal decree established a fixed sitting of judges in the Hall. In 1215, Magna Carta stipulated that these courts would sit regularly in the Hall for the convenience of litigants. [ 7 ] In 1875, the courts were amalgamated into the High Court of Justice , which continued to have chambers adjacent to Westminster Hall until moved to the then new Royal Courts of Justice building in 1882. [ 8 ] [ 9 ] In addition to regular courts, Westminster Hall also housed important state trials, including impeachment trials and the state trials of King Charles I at the end of the English Civil War , William Wallace , Thomas More , Cardinal John Fisher , Guy Fawkes , the Earl of Strafford , the rebel Scottish lords of the 1715 and 1745 uprisings, and Warren Hastings . On the night of 10 May 1941 at the height of the Blitz, the Palace of Westminster was showered with incendiary bombs. Scottish politician Walter Elliot happened to be nearby, and directed firefighters to prioritise saving the medieval Hall rather than the Chamber of the House of Commons, whose roof was also alight, and smashed through a door to the Hall with an axe so hoses could be brought in. [ 10 ] The St Stephen's Porch end of the Hall displays under the stained glass window the Parliamentary War Memorial listing on eight panels the names of Members and staff of both Houses of Parliament and their sons killed serving in the First World War; the window itself, installed in 1952, commemorates members and staff of both Houses who died in the Second World War. In 2012, a new stained glass window commemorating Queen Elizabeth II's diamond jubilee was installed opposite this window, at the other end of the hall. [ 11 ] George IV 's coronation banquet was held in Westminster Hall in 1821, the last of its kind; no such banquet has been held since. Westminster Hall has also served ceremonial functions. From the twelfth century to the nineteenth, coronation banquets honouring new monarchs were held here. The last coronation banquet was that of King George IV , held in 1821; [ 12 ] his successor, William IV , abandoned the idea because he deemed it too expensive. Since the late 19th century, the Hall has been used as a place for lying in state during state and ceremonial funerals. Such an honour is usually reserved for the Sovereign and for their consorts; the only non-royals to receive it in the twentieth century were Frederick Sleigh Roberts, 1st Earl Roberts (1914), the 48 victims of the crash of the airship R101 (1930) [ 13 ] and Winston Churchill (1965). In 1910 the hall was used for the lying in state of King Edward VII , followed by King George V in 1936, King George VI in 1952, Queen Mary in 1953, Queen Elizabeth The Queen Mother in 2002, and Queen Elizabeth II in 2022. [ 14 ] [ 15 ] Around 250,000 mourners filed past the coffin when Queen Elizabeth II lay in state, which resulted in the delamination of the Yorkstone floor. [ 16 ] The two Houses have presented ceremonial Addresses to the Crown in Westminster Hall on important public occasions. For example, Addresses were presented at Elizabeth II 's Silver Jubilee (1977), Golden Jubilee (2002) and Diamond Jubilee (2012), the Accession of Charles III (2022), the 300th anniversary of the Glorious Revolution (1988), and the fiftieth anniversary of the end of the Second World War (1995). It is considered a rare privilege for a foreign leader to be invited to address both Houses of Parliament in Westminster Hall. Since the Second World War, the only leaders to have done so have been French president Charles de Gaulle in 1960, South African president Nelson Mandela in 1996, Pope Benedict XVI in 2010, U.S. president Barack Obama in 2011, Burmese opposition leader Aung San Suu Kyi in 2012, and Ukrainian president Volodymyr Zelenskyy in 2023. [ 17 ] [ 18 ] [ 19 ] [ 20 ] President Obama was the first US president to be invited to use the Hall for an address to Parliament [ 21 ] and Aung San Suu Kyi was the first non-head of state to be given the accolade of addressing MPs and peers in Westminster Hall. Following reforms in 1999, the House of Commons now uses the Grand Committee Room next to Westminster Hall as an additional debating chamber. (Although it is not part of the main hall, these are usually spoken of as Westminster Hall debates .) In contrast with the two main Chambers, in which the government and opposition benches directly face each other, the seating in the Grand Committee Room is laid out in a U-shape, a pattern meant to reflect the non-partisan nature of the debates there. Architecture [ edit ] One of the angel corbels which support the roof; it holds the Coat of arms of England used intermittently between 1340 and 1406 The hall is notable for its hammerbeam roof , which was commissioned for Richard II in 1393. [ 2 ] It was built by the royal carpenter, Hugh Herland , and is considered "the greatest creation of medieval timber architecture" creating a single huge open space, with a dais at the end. Richard's master builder Henry Yevele retained the original dimensions, refacing the walls, with fifteen life-size statues of kings placed in niches. [ 5 ] The rebuilding had been begun by King Henry III in 1245, but by Richard's time had been dormant for over a century. Included in Richard's renovations are repetitions of his favourite heraldic badge – a white hart , chained, and in an attitude of rest – which is repeated eighty-three times, without any of them being an exact copy of another. [ 6 ] The largest clearspan medieval roof in England, Westminster Hall's roof measures 20.7 by 73.2 metres (68 by 240 ft). [ 3 ] Oak timbers for the roof came from royal woods in Hampshire and from parks in Hertfordshire and from that of William Crozier of Stoke d'Abernon , who supplied over 600 oaks in Surrey , among other sources; they were assembled near Farnham , Surrey, 56 kilometres (35 mi) away. [ 4 ] Accounts record the large number of wagons and barges which delivered the jointed timbers to Westminster for assembly. [ 22 ] The original design of the roof is a mystery. It is believed that, until the 13th or 14th century, carpenters were unable to create a roof significantly wider than the length of the timber available, yet no evidence of supporting columns has been found. [ 23 ] New Dawn [ edit ] New Dawn is a glass artwork by Mary Branson , installed in Westminster Hall in 2016. It celebrates the campaign for women's suffrage, and is illuminated with light levels changing according to the tidal level of the River Thames . [ 24 ] [ 25 ] [ 26 ] References [ edit ]
|
|
1,099
|
9.1758056°E
|
45.4624250°N
|
Basilica of Sant'Ambrogio
|
https://en.wikipedia.org/wiki/Basilica_of_Sant%27Ambrogio
| 41,819
|
Italy
|
Romanesque church in Milan See also: Sant'Ambrogio, Florence Basilica of Sant'Ambrogio ( Basilica di Sant'Ambrogio ) Exterior view of the basilica. Religion Affiliation Catholic Province Milan Ecclesiastical or organizational status Minor basilica Year consecrated 379 Status Active Location Location Milan , Italy Geographic coordinates 45°27′44.73″N 9°10′32.90″E / 45.4624250°N 9.1758056°E / 45.4624250; 9.1758056 Architecture Type Church Style Romanesque Completed 1099 The Basilica of Sant'Ambrogio (official name: Basilica romana minore collegiata abbaziale prepositurale di Sant'Ambrogio ) [ 1 ] is an ancient Romanesque -style, Roman Catholic church in the center of Milan , region of Lombardy, Italy . History [ edit ] One of the most ancient churches in Milan, it was commissioned by St. Ambrose in 379–386, in an area where numerous martyrs of the Roman persecutions had been buried. The first name of the church was in fact Basilica Martyrum . When St Ambrose arrived in Milan to assume the bishopric, churches in the region were in conflict with each other over the dispute between Arianism and the Nicene Creed as well as numerous local issues. Ambrose firmly sided with the Nicene partisans, and wanted northern Italy to remain allied to the papacy. He did this through both preaching and construction. He built three or four churches surrounding the city; Basilica Apostolorum (now San Nazaro in Brolo ), Basilica Virginum (now San Simpliciano ), and Basilica Martyrum (which was later renamed in his honour). A fourth church, Basilica Salvatoris (later San Dionigi, razed in the 17th century), is attributed to him as well, but may not actually be from the 4th century. These churches were dedicated with anti-Arian language and as symbols of the wealth and power of the pro-Nicene faction in Milan. [ 2 ] The church building has undergone several restorations and partial reconstructions, assuming the current appearance in the 12th century, when it was rebuilt in the Romanesque style . Initially, the basilica was outside the Roman city walls of Milan , but over the following centuries, the city grew up around it. It became a centre of religious life and a community of canons developed in the church. In 789, a monastery was established within the basilica grounds. The canons, however, retained their own community and identity instead of fading away. Two separate, distinct religious communities shared the basilica. In the 11th century, the canons adopted a rule of life and became Canons Regular . There were now two separate monastic communities following different rules living in the basilica. The canons were in the northern building, the cloister of the canons, while the monks were in the two southern buildings. [ 3 ] The two towers symbolize the division in the basilica. The 9th-century Torre dei Monaci ("Tower of the Monks") was used by the monks to call the faithful to the monks' mass . The monks supported themselves partly from the offerings given after mass. However, the canons did not have a bell tower and were not allowed to ring bells until they finished their own tower (on the north side) [ 4 ] in the 12th century. [ 3 ] The monastery and church became a large landholder in northern Italy and into what is now the Swiss Canton of Ticino . On 4 August 1528, an accord known as the "Peace of St. Ambrose" was signed here between the noble and popular factions of the city. In 1492 the Benedictines commissioned Donato Bramante , structural architect of St. Peter's Basilica , to renovate the new rectory . In August 1943, the Allied bombings heavily damaged the basilica, in particular the apse and surrounding area. As a result of this a new building, painted in pink, was constructed to house the Abbot's offices and the museum. Description [ edit ] Plan of the basilica, showing the arcades and church The apex façade with the entrance portico Mosaic of Christ Pantocrator from the 4th to 8th century (with later restoration) The church is mostly built in brickwork of different origins and colours, with parts of stone and white plastering. The current Romanesque church was begun around 1080. The nave dates to about 1128, and the rib vaults of the nave are from about 1140. The original edifice, like the great churches of Rome of the same epoch, belonged to the basilica type; it consisted of a central nave lighted from the clerestory , two side aisles , an apse , and an atrium . Investigations made in 1864 have established the fact that the nave and the aisles of the existing basilica correspond with those of the primitive church; the atrium, however, which dates from the 9th century, and two smaller apses, flanking a new central apse of greater depth than the original, was erected. The altar occupies about the same place as in the time of St. Ambrose, and the columns of the ciborium over the altar appear never to have been disturbed; they still rest on the original pavement. [ 5 ] In the following centuries, the edifice underwent several restorations and partial reconstructions, assuming the current appearance in the 12th century. The original basilica plan was maintained, with an apse and two aisles, all with apses, and a portico with arches supported by semi-columns and pilasters preceding the entrance. The latter was used to house the catechumens who attended part of the Mass prior to receiving baptism (this custom disappeared in the early 11th century); the portico, whose entrance has four blind arcades with an open one in the centre, was later used for civil and religious meetings. Exterior [ edit ] The apex of the façade has two orders of loggias: the lower register has three arches of the same span, which join the slightly higher portico ones. The upper loggia was used by the bishops to bless the citizens. The Canons' bell tower The portico's arcade is supported by pillars flanked by semi-columns. They have double archivolts , while the portico's upper frame is decorated with Lombard bands , which are repeated also on the façade. Thin lesenes start from the pillars' centres, reaching the upper frame. The capitals are decorated by animals (lions, wild boars), and human figures (mostly heads, but also angels and others), as well as by vegetable or fantastic motifs of pre-Romanesque origin. Under the narthex , between the central portal and the left aisle's portal, is the 15th-century sarcophagus of Pietro Candido Decembrio . The central portal is flanked by two multi-column pillars, and has an archivolt with decorative elements of Sassanid inspiration . [ 6 ] The basilica has two bell towers . The right one, called dei Monaci ("of the Monks"), is from the 9th century and has a severe appearance typical of defensive structures. The left and higher one dates from 1144, with the last two floors added in 1889. It was likely designed by the same architect of the Romanesque basilica since it contains the same decorative elements. There is also an octagonal tower over the east end of the nave. [ 4 ] Interior [ edit ] The basilica has a semi-circular apse , and smaller, semi-circular chapels at the end of the aisles; there is no transept . [ 4 ] The interior has the same size as the external portico. The ceiling features groin vaults with ogives , each supported by its own semi-pillar or semi-column, which, in the lower section, become a single pillar. The aisles' spans measure exactly half of those in the nave and are supported by lesser pillars. The matronei (galleries) over the aisles support the vaults but preclude clerestory windows. [ 7 ] The third central span, on the left, houses the 12th-century Romanesque ambon or pulpit, built on a pre-existing 9th century one; which utilizes as a base a 4th-century Roman sarcophagus, traditionally known as the Sarcophagus of Stilicho . It has nine small columns with decorated capitals and friezes, featuring animal and human figures, as well as vegetable and fantastic motifs. The front of the ambon is decorated by two gilt copper reliefs, depicting the symbols of two evangelists, Saints Matthew (praying man) and John (eagle). The church after the 1943 Anglo-American bombings Under the dome cladding, in the last span of the nave, is the presbytery with, in its center, the high altar. This was realized in 824–859 by Volvinius. It features a golden antependium with precious stones on both sides. The altar is surmounted by a contemporary ciborium , commissioned by archbishop of Milan Angilbert II , whence its common name. It has four columns in red porphyry and has, on each side, bar-reliefs depicting Christ with Sts Peter and Paulus (front side), St. Ambrose Receives the Homage from Two Monks, at the Presence of Sts Gervasius and Protasus (rear side), St Benedict Receives the Homage from Two monks (left side), and St. Scholastica Receives the Homage from Two Nuns (right side). Ceiling of the Oratory of San Vittore in Ciel d'Oro The apse displays an early 13th-century mosaic , depicting Christ Pantokrator with Sts Gervasus and Protasus , and at the sides, Scenes from the Life of St. Ambrose . The apse mosaic was heavily restored after damage during Second World War . The oratory of San Vittore in Ciel d'Oro was originally a free-standing chapel, putatively begun in the 4th century, and thus pre-dating the church, commissioned by bishop Maternus to hold the relics of San Vittore . Bishop Ambrose supposedly buried his brother, San Satiro, in the chapel. The mosaics on the walls and ceiling were created in the 5th century; these include one of the earliest portraits of St Ambrose. The gilded dome ceiling has a central portrait of the patron saint. The church also houses the tomb of Emperor Louis II , who died in Lombardy in 875. The crypt , located under the high altar, was built in the 9th century to house the remains of three saints venerated here: Ambrose, Gervasus and Protasus. The remains of the saints were already in a crypt in the area, although their position has since been lost over the centuries. In the 9th century bishop, Angilbert found them and had them put in a single porphyry sarcophagus. The current appearance of the crypt dates from the 18th-century restoration commissioned by cardinal Benedetto Erba Odescalchi and to others from the following century, in which the bodies of the three saints were moved to a silver urn in a space under the ciborium. Myth [ edit ] Immediately beside the church, there is a white marble column with two holes. According to tradition, these were made by the Devil hitting the column with his horns because he could not seduce St. Ambrose into temptation. Thus, this column is called the Devil's Column. [ 8 ] Others [ edit ] Royce Hall and Powell Library , at UCLA ( University of California, Los Angeles ), are modelled after Sant'Ambrogio. See also [ edit ] History of medieval Arabic and Western European domes Early Christian churches in Milan References [ edit ]
|
|
1,100
|
12.32806°E
|
45.43361°N
|
San Samuele, Venice
|
https://en.wikipedia.org/wiki/San_Samuele,_Venice
| 1,038
|
Italy
|
Church in Venice, Italy San Samuele San Samuele facade church and belltower Religion Affiliation Roman Catholic Province Venice Location Location Venice , Italy Shown within Venice Show map of Venice San Samuele, Venice (Italy) Show map of Italy Geographic coordinates 45°26′01″N 12°19′41″E / 45.43361°N 12.32806°E / 45.43361; 12.32806 Facade with loggia, to the left stands Palazzo Grassi. San Samuele is a church in Venice , northern Italy . It is located in the eponymous campo near Palazzo Grassi and Palazzo Malipiero . The facade is set back on the campo, but faces and is visible from the Grand Canal. It is named after the Biblical Samuel , because in the interior are housed relics traditionally attributed to him. The church was built around 1000 by the families Boldù and Soranzo. In the early 12th centuries it was destroyed by two fires and then reconstructed. In 1685, it was again almost entirely rebuilt. The portico on the façade, now closed, is surmounted by a loggia added in 1952. The interior, over the high altar, houses a 14th-century crucifix attributed to Paolo Veneziano . San Samuele bears the distinction of being one of only a handful of Roman Catholic churches dedicated to an Old Testament figure. It is also unique in that its late- Gothic apse has remained intact despite the restructuring of its nave and façade in 1685. The walls and vaults of this apse have been restored starting in 1999, and are one of the few surviving fresco cycles of the early Venetian Renaissance . The cycle depicts eight Sibyls , Greek and Roman female seers who were believed to have predicted events in the life of Christ such as the Annunciation , the Crucifixion and the Resurrection . The ceiling's quadripartite vault features Saints Jerome , Augustine , Ambrose and Gregory , the four fathers of the Western church, set in roundels and surrounded by inscriptions, decorative foliage, and putti bearing the instruments of the Passion. Above the high altar, the frescoes occupying the spaces between the ribs of the cupola feature Christ and the four Evangelists Matthew , Mark , Luke and John . The cycle has traditionally been attributed to the Paduan or Bolognese school. References [ edit ] Wikimedia Commons has media related to San Samuele (Venice) . Savevenice entry . Authority control databases International VIAF 2 National Germany United States Vatican Geographic Structurae
|
|
1,100
|
11.43306°E
|
48.25806°N
|
Dachau Palace
|
https://en.wikipedia.org/wiki/Dachau_Palace
| 4,406
|
Germany
|
Former residence of the rulers of Bavaria Dachau Palace Dachau Palace, 1750 Aerial image of the Dachau palace and court garden The Dachau Palace is a former residence of the rulers of Bavaria at Dachau , southern Germany . History [ edit ] The castle was constructed around 1100 as a castle by the cadet branch of the House of Wittelsbach . In 1182, the last Count of Dachau, Konrad III , died without issue and Duke Otto I of Bavaria took possession of it shortly thereafter. The original castle was demolished between 1398 and 1403. In 1467, Sigismund, Duke of Bavaria resigned his rule of Bavaria-Munich and then kept only the new duchy of Bavaria-Dachau as his domain until his death in 1501. William IV of Bavaria and his son Albert V ordered the construction of a Renaissance style four-wing palace with a court garden on the site of the old castle. The new building was designed by Heinrich Schöttl ; construction began in 1546 and was completed in 1577. It later became the favoured residence of the rulers of Bavaria . Also, close to Dachau Palace was the Schleissheim Palace that started out with a Renaissance country house (1598) and hermitage founded by William V, Duke of Bavaria . In 1715, Maximilian II Emanuel, Elector of Bavaria commissioned a redesign in Baroque style by Joseph Effner . The 60 wrought-iron parapet grilles on the facades have always been an essential accessory. The metalwork in six different gives the magnificent facade its final touch. They were commissioned by Elector Max Emanuel and produced by Antoine Motté between 1724 and 1725. The design is attributed to Joseph Effner, while the models for the castings were made by the Flemish sculptor Guillielmus de Grof . Only the south-west wing is extant; King Maximilian I Joseph of Bavaria ordered the other 3 wings to be demolished in the early 19th century. They had suffered extensive damage at the hands of the Napoleonic troops. Description [ edit ] The Palace is managed by the Bavarian Administration of State-owned Palaces, an administrative department of the Free State of Bavaria. It is open to visitors and the Banqueting Hall can be booked for special events. It is also used as a venue for classical concerts. The stairwell , same as the west facade of 1715 are built in the Régence style . The main sight of the palace is the banqueting hall with its coffered Renaissance ceiling, designed and created between 1564 and 1566 by Hans Wisreutter , which was restored to the palace in 1977. The view from the top of the Schlossberg overlooks Munich and extends to the Bavarian Alps . The Park [ edit ] Lime trees in the court garden The court garden was created from the 1572 in order to enjoy the remarkable view from the Schlossberg, several pavilions were built, of which three are still preserved. Comparable with the vineyard and famous Sanssouci Palace , were the "hanging gardens" of the Schlossberg: terraces with precious espalier fruits. For the upper part of the parterres a still existing balcony of lime trees was created. Joseph Effner re-designed together with his brother Johann Christoph Effner also the garden in Baroque style in 1717. As a representative of an enlightened absolutism, Elector Max III. Joseph ordered already in 1765 to develop an English landscape garden. Today, the lower part of the garden has been abandoned and is awaiting resurrection. See also [ edit ] List of Baroque residences External links [ edit ] Wikimedia Commons has media related to Schloss Dachau . Dachau Palace site from the Bavarian Administration of State-owned Palaces Page on Dachau Castle on the website of the city of Dachau 48°15′29″N 11°25′59″E / 48.25806°N 11.43306°E / 48.25806; 11.43306 Authority control databases International ISNI VIAF National United States 2 Israel
|
|
1,100
|
9.60583°E
|
62.30306°N
|
Kongsvoll
|
https://en.wikipedia.org/wiki/Kongsvoll
| 1,403
|
Norway
|
62°18′11″N 09°36′21″E / 62.30306°N 9.60583°E / 62.30306; 9.60583 Kongsvold Fjeldstue Kongsvoll (historic: Kongsvold Fjeldstue ) is a historic mountain lodge built on the site of a former inn located in the Drivdalen valley in Oppdal Municipality in Trøndelag county, Norway . The original inn dated to the 12th century. The oldest buildings of the present mountain lodge date from the 18th century. [ 1 ] [ 2 ] [ 3 ] Nearby is found the Kongsvoll Alpine Garden of NTNU . [ 4 ] Background [ edit ] Kongsvold Fjeldstue is located along the Pilgrim´s Route ( Norwegian : Pilegrimsleden ) and Old Kings' Road ( Norwegian : Kongeveien ) between the cities of Oslo and Trondheim . During his reign, King Eystein I of Norway ordered the construction of mountain stations ( Norwegian : fjellstue ) along the route that pilgrims followed in visiting the shrine of St. Olav in Trondheim. These stations, including Kongsvoll, were inns where pilgrims crossing the mountain passes could find food and shelter. This one was built along the Driva river in what is now Oppdal Municipality . [ 5 ] [ 6 ] The oldest buildings presently at the site date from 1720. The original inn was located about 2 kilometres (1.2 mi) from where the lodge is now located. In 1701, a landslide damaged the inn. This resulted in a decision to move Kongsvold to the current location. In 1712, construction of the new Kongsvold lodge was started, but during the Great Northern War , Kongsvold and the other mountain lodges in the Dovre Region were burned. Reconstruction of the lodge began in 1720. [ 7 ] During the period 1979–1990, there was major restoration work completed on the historic lodge. The lodge has an exhibition about the history of the area and a collection of historical artifacts from the operation of the former inn. The Kongsvoll railway station is located 500 metres (1,600 ft) from Kongsvoll. [ 8 ] References [ edit ] Footnotes [ edit ]
|
|
1,100
|
7.686806°E
|
45.002250°N
|
Moncalieri Castle
|
https://en.wikipedia.org/wiki/Moncalieri_Castle
| 2,704
|
Italy
|
This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "Moncalieri Castle" – news · newspapers · books · scholar · JSTOR ( March 2018 ) ( Learn how and when to remove this message ) Building in Moncalieri, Italy Castle of Moncalieri Castello di Moncalieri Moncalieri Castle Location within Piedmont Show map of Piedmont Moncalieri Castle Moncalieri Castle (Italy) Show map of Italy General information Town or city Moncalieri Country Italy Coordinates 45°00′08.1″N 7°41′12.5″E / 45.002250°N 7.686806°E / 45.002250; 7.686806 UNESCO World Heritage Site UNESCO World Heritage Site Criteria Architectural: C (i) (ii) (iv) (v) Reference 823bis Inscription 1997 (21st Session ) The Castle of Moncalieri is a palace in Moncalieri ( Metropolitan City of Turin ), Piedmont , in northern Italy . It is one of the Residences of the Royal House of Savoy listed by UNESCO as World Heritage Sites in 1997. [ 1 ] History [ edit ] The first structure was a fortress built by Thomas I of Savoy around 1100 on a hill, to command the main southern access to Turin . In the mid-15th century Yolanda of Valois, wife of Duke Amadeus IX , turned it into a pleasure residence. Architect Carlo di Castellamonte enlarged the construction substantially, and the interiors were redesigned by him and other local artists. The castle was the site of the marriage between Maria Vittoria Francesca of Savoy to the Prince of Carignano . It was also the place where Maria Carolina of Savoy married Anthony of Saxony by proxy in 1781. It was the scene of the death of Maria Antonietta of Spain in 1785; she was the wife of Victor Amadeus III of Sardinia . Victor Amadeus later died there in 1796. The castle was used extensively by the Savoyards, and was the first castle occupied in 1798 by the French army , who retained it until 1814. Returned to Victor Emmanuel I and later to his distant nephew Charles Albert of Sardinia , Prince of Carignano, it became the residence of young family princes who studied here. King Victor Emmanuel II preferred it to the Royal Palace of Turin , and had numerous apartments furnished according to his tastes. In 1849, it was from this palace that emerged the famous Proclamation of Moncalieri , written by Massimo d'Azeglio and signed by the King. The palace was later used by the queen mothers and royal princesses. Since 1921 it has been the home of the 1st Battalion of the Carabinieri , but the historical rooms can be freely visited. On April 5, 2008, a fire broke out in the castle, [ 2 ] damaging one of the towers and the hall of the proclaim. Overview [ edit ] The current structure of the castle is in the shape of a horseshoe facing south, with four massive square towers at each angle. The side sections have five floors, brick walls and robust buttresses . Two other minor buildings parallel the side sections and create two courts. The southern façade has a giardino all'italiana and two small cylindrical towers, last remains of the 15th-century castle. The northern entrance has also a notable belvedere . References [ edit ]
|
|
1,102
|
8.54444°W
|
42.88194°N
|
Monastery of San Martiño Pinario
|
https://en.wikipedia.org/wiki/Monastery_of_San_Marti%C3%B1o_Pinario
| 3,889
|
Spain
|
Monastery in Santiago de Compostela, Galicia, Spain This article has multiple issues. Please help improve it or discuss these issues on the talk page . ( Learn how and when to remove these messages ) This article relies largely or entirely on a single source . Relevant discussion may be found on the talk page . Please help improve this article by introducing citations to additional sources . Find sources: "Monastery of San Martiño Pinario" – news · newspapers · books · scholar · JSTOR ( March 2024 ) This article includes a list of general references , but it lacks sufficient corresponding inline citations . Please help to improve this article by introducing more precise citations. ( March 2024 ) ( Learn how and when to remove this message ) ( Learn how and when to remove this message ) Monastery of San Martiño Pinario Mosteiro de San Martiño Pinario Facade of the monastery. Religion Affiliation Catholic Location Location Santiago de Compostela , Galicia [ 1 ] Country Spain Shown within Spain Geographic coordinates 42°52′55″N 8°32′40″W / 42.88194°N 8.54444°W / 42.88194; -8.54444 Architecture Style Renaissance , Baroque , Neoclassical Main entrance to the church. The monastery of San Martiño Pinario ( San Martín Pinario in Castilian ) was a Benedictine monastery in the city of Santiago de Compostela , Galicia , Spain . It is the second largest monastery in Spain after San Lorenzo de El Escorial . Little remains of the original medieval buildings, as the monastery has been largely rebuilt since the sixteenth century. The monastery was closed in the nineteenth century in the Ecclesiastical Confiscations of Mendizábal . The buildings currently house a seminary . History [ edit ] It originated in a chapel dedicated to Santa Maria called the Corticela which was demolished in the late ninth century, except the chapel, which today is part of the Santiago de Compostela Cathedral , when Alfonso III of Asturias and the Bishop Sisnando began the new cathedral construction. Thus, around the year 899, this monastery was built where Benedictine monks moved from the old chapel. This monastery was later replaced by another monastery whose church was consecrated in 1102 by Bishop Diego Gelmírez, but not much remains of that era. [ citation needed ] Throughout the Middle Ages the monastery grew so that by the end of the fifteenth century the monastery became the richest and most powerful of Galicia. This brought about the almost complete reconstruction starting in the sixteenth century. From that century it was the most powerful monastery in Galicia, administering control over most Galician monasteries. [ citation needed ] The current church began to be erected soon after the appointment of Juan de Sanclemente Torquemada as Archbishop of Santiago in 1587. The project was commissioned to Mateo López , the most outstanding monastic architect of the city. After the death of López in 1606, Benito González de Araujo assumed the direction of the work. [ citation needed ] The facade of the church, oriented to the west and open to the square of San Martín, presents a cover with structure of great altarpiece of stone divided in three bodies and three streets separated by fluted columns and is dedicated to the exaltation of the Virgin Mary and of The Benedictine order. [ citation needed ] The fronton finish has a relief of Saint Martin on horseback distributing his coat with a poor, patron of the convent. [ citation needed ] Its present aspect is due, in addition to the initial design of Mateo López, to subsequent interventions. Thus, in the 17th century Peña del Toro enlarged it adding two towers to the sides, which did not rise above the church by the opposition of the cathedral chapter, and opening two side windows, adorned with the first fruit strings of the Baroque Compostelan, antecedent of what would later be used profusely by Domingo de Andrade in the Clock Tower of the cathedral and in the Casa de la Parra of the Plaza de La Quintana [ Wikidata ] . [ citation needed ] With the seizure in the year 1835 was devoted to various functions and since 1868 it became the seat of the seminar most of the Archdiocese of Santiago. [ citation needed ] Architecture [ edit ] Facade [ edit ] The facade has an altarpiece structure and shows the figures of the Virgin and Child and saints Benedictine abbots. The Eternal Father chairs the triangular pediment. St. Martin of Tours completes the set on top with a classic representation: on horseback and dividing his cloak to shelter a beggar. The main facade is oriented to the south and have front gardens that are the Plaza de la Inmaculada. It was designed by Gabriel de las Casas and her four Doric columns supporting an entablature with pinnacles. Above the door is a picture of San Benito, a large shield of Spain and San Martin riding high. In 1738 Fernando de Casas y Novoa added a large rectangular comb with the Spanish shield, finishing the whole with another image of Saint Martin distributing his cape. Church [ edit ] Facade of the church The church, completed in 1652, is the work of Matthew Lopez and Gonzalez de Araújo and opens onto the square that bears the name of the monastery, which lowers her face. The plan of the church has a single nave covered with a barrel vault with lacunar false. Six side-chapels open onto the nave and communicate with each other and have the same kind of dome as the nave. The crossing is illuminated by a dome in half. The choir stalls, Baroque, is the work of Matthew de Prado and the three largest altar pieces, along with the Relief Chapel of the same temple, are the work of Fernando de Casas Novoa , creating here one of the most exquisite Baroque nationally and internationally. Currently, this building has enabled part as a museum of religious art, which is accessed through the door of the church of St. Martin, and is distinguished as one of the best in the community. You can visit also the temple itself, the statio (sacristy), the sacristy, the former printing, the pharmacy, the chapel of the relics (theca) or the Renaissance choir of the Cathedral of Santiago de Compostela, and various collections of gold, ivory or liturgical vestments. Cloisters [ edit ] The monastery has two cloisters. The largest was built in 1636 by Bartolome Fernandez Lechuga (the author of the transept of the church), and continued by José Peña de Toro and Fernando Casas y Novoa, who finished in 1743. The Cloister of the Offices The Cloister of the Offices was started by Bartolomé Fernández Lechuga in 1626, continued by Peña del Toro and completed by Fernando de Casas y Novoa in 1743. It has a rectangular floor plan with six sections on the major sides and four on the smaller sides and two linked floors by matched columns. Cloister of the Portería Cloister of the Portería The Cloister of the Portería or Processions, the largest, began to be erected around 1633 on the side closest to the church. Although the project is attributed to Bartolomé Fernández Lechuga, they worked on it Peña del Toro or Miguel de Romay, also author of the bell tower. It has two floors united by double columns of giant Tuscan order that start of plinth. The first floor has semicircular arches and the second, by Friar Tomás Alonso, balconies flanked by double Doric columns. The whole is topped by a cornice with pinnacles. Unfortunately, the cloisters are not part of the visitable route, although as the headquarters of the Social Work School, it may be possible to visit during the academic period. Interior [ edit ] Main nave view from the entrance of the church. The interior is conformed with a Latin cross plan with a rectangular headboard flanked by rectangular spaces that could have been designed as sacristies, single nave covered with barrel vault of false casetas that mask the nerves and three lateral chapels on each side communicated to each other by means of Arches of half point and with equal cover that the nave. Staircase [ edit ] In addition, in 1771 Friar Manuel de los Mártires designed, with the execution of Friar Plácido Caamiña, an intervention that consisted of lowering the level of the door with respect to that of the square, leaving the upper part of the former converted into stained glass, and incorporating a descending staircase with an effective mix of curves and countercurves that create an interesting perspective game. Main chapel [ edit ] The main chapel is of great development, of rectangular plan and covered of vault of canon casetonada. It has a Baroque walnut stall and an impressive exalted altarpiece that, along with the sides in the arms of the cruise, get one of the most exquisite sets of Baroque peninsular. Choir stalls [ edit ] Choir of the church. Ceiling over the choir. The choir stalls was realized by Mateo de Prado between 1639 and 1647 and it denotes influence of Gregorio Fernández, the engravings of the Roman edition of 1579 of Vita et miracula sanctissimi patris Benedicti and of the choir of the cathedral that, paradoxically, at the moment also can be admired in San Martiño, located in the high choir of the church. The crest was designed by Diego de Romay in 1673. The iconography supposes the exaltation of the Virgin Mary as a destroyer of the sin of the world and in relation to the dogma of the Immaculate Conception, of which the Benedictine order was a great defender. Main altarpiece [ edit ] One of the most striking features of the main altarpiece is its double function as a double-faced retable-baldachin, one towards the nave and another towards the choir of the monastic community. It is organized by two bodies with profuse decoration in gold leaf, with salomonic columns, scrolls, pearls, acanthus leaves, small vegetal decoration ... and its iconographic discourse is articulated around the Assumption and Coronation of the Virgin. Lateral reredos [ edit ] Reredos of la Virgen Inglesa. The lateral altarpieces, placed in the ends of the arms of the transept, are dedicated to Saint Benedict and the Virgen Inglesa, which receives that name because tradition says that the carving of the Virgin and Child presiding over the ensemble, dating from ha. 1500, was brought to Compostela by Catholics exiled from England at the time of Henry VIII ; Are distributed in three streets and attic, with salomonic columns of giant order on a bank very developed. They present scrolls, fruit strings, corbels, ribbons and are topped by broken semicircular pediments from which a pyramidal shape emerges. The crossing was covered by Bartolomé Fernández Lechuga with an impressive dome ribbed on pechinas without drum and with twelve windows at the start that give the sensation that it is floating in the air, conforming the favorite field for burials. The nave has a balcony flown running from the high choir to the cruise supported by corbels with vegetal and anthropomorphic decoration of questioned authorship, as some authors relate it to Friar Tomás Alonso, since the corbels are very similar to those made in the facade of the Hostal dos Reis Católicos , and others say that it is the work of Friar Gabriel de las Casas, who is known to be working in San Martín in 1685. Chapels [ edit ] All chapels show altarpieces added in the 18th century. The most significant is the Chapel of the Virgin of Socorro, second to the right, design attributed to Fernando de Casas y Novoa , the architect of the Obradoiro facade of the cathedral, a centralized space decorated with polychrome materials and jaspes of sumptuous appearance Covered with dome casetonada on pechinas. Museum of religious art [ edit ] At the moment part of the convent is enabled as a museum of religious art. The permanent exhibition consists of 12 rooms distributed in several floors with collections of paintings, sculptures, goldsmiths, engraving plants, liturgical vestments, archaeological remains, bibliographical collections. and on the way it can visit the old printing press, the pharmacy, the relics. The sacristy stands on the north side of the church. It was begun by Friar Gabriel de las Casas at the end of the 17th century and completed by Fernando de Casas y Novoa in 1740. It is of Greek cross plan with canopy vaults in the arms and central dome of casetones. As part of the complex has been set up as a museum, here you can see a series of figures of the monument of Holy Thursday located on the pillars and the start of the entablature on which the vaults support: the Four Evangelists and the Cardinal and Theological Virtues. From the sacristy there are stairs leading to the high choir, supported by a flat casetonada vault that alternates stone and wood imitating stone to relieve its weight. It houses the Renaissance choir of the Cathedral of Santiago, dismantled from its location in the center of the main nave and moved here in the 1945s, once again transferred to A Coruñan Church of Santa María de Sobrado dos Monxes in the 1970s and again in San Martiño since 2004, after a restoration process. Another one of the rooms incorporated to the circuit of the museum is the old apothecary . Prior to the 15th century, health care relied mainly on monasteries. Thus, in all the monastic communities there existed an apothecary monk who cultivated and collected herbs and medicinal plants with which he developed his remedies. The San Martiño drugstore has been documented since the end of the 16th century, always run by a monk from the community. At the beginning he attended to the community and, sporadically, to some poor pilgrim or sick person. But in the middle of the 17th century it was opened to the public and at the beginning of the 19th century it was moved to the left wing of the main façade of the monastery to allow access from outside, in what became known as the new pharmacy. Bibliography [ edit ] Vigo Trasancos, Alfredo (1994). "Bartolomé Fernández Lechuga y el claustro procesional de San Martín Pinario en Santiago de Compostela" . Cuadernos de Estudios Gallegos (in Spanish). 41 (106). IEGPS (CSIC): 277– 310. doi : 10.3989/ceg.1994.v41.i106.285 . References [ edit ]
|
|
1,105
|
94.8678556°E
|
21.1708056°N
|
Ananda Temple
|
https://en.wikipedia.org/wiki/Ananda_Temple
| 17,813
|
Myanmar
|
Prominent Buddhist temple in Bagan Myanmar Ananda Temple အာနန္ဒာဘုရား Ananda Temple Religion Affiliation Theravada Buddhism Location Location Bagan , Myanmar Country Myanmar Location within Burma Geographic coordinates 21°10′14.90″N 94°52′04.28″E / 21.1708056°N 94.8678556°E / 21.1708056; 94.8678556 Architecture Founder Kyansittha Groundbreaking c. 1090 Completed 1105 ; 920 years ago ( 1105 ) Specifications Height (max) 51 m (167 ft) [ 1 ] Spire height ? The Ananda Temple ( Burmese : အာနန္ဒာ ဘုရား , pronounced [ànàɰ̃dà pʰəjá] ), located in Bagan , Myanmar is a Buddhist temple built in 1105 AD during the reign (1084–1112/13) of King Kyansittha (Hti-Hlaing Min) of the Pagan Dynasty . The temple layout is cruciform with several terraces leading to a small pagoda at the top covered by an umbrella known as hti , which is the name of the umbrella or top ornament found in almost all pagodas in Myanmar. The Buddhist temple houses four standing Buddha statues , each one facing the cardinal direction of East, North, West and South. The temple is said to be an architectural wonder in a fusion of Mon and adopted Indian style of architecture. The impressive temple has also been titled the "Westminster Abbey of Burma". [ 2 ] [ 3 ] [ 4 ] [ 5 ] The temple has close similarity to the Pathothamya temple of the 10th–11th century, and is also known as “veritable museum of stones”. [ 6 ] [ 7 ] The temple was damaged in the earthquake of 1975 . However, it has been fully restored and is well maintained by frequent painting and whitewashing of the walls. On the occasion of 900th anniversary of its construction celebrated in 1990, the temple spires were gilded. It is a highly revered temple of Bagan. [ 2 ] [ 3 ] Etymology [ edit ] Further information: Ananda The name Ananda of the temple is derived from the Venerable Ananda, Buddha's first cousin, personal secretary, one of his many principal disciples and a devout attendant. It was once known as Ananta Temple, coming from the phrase 'ananta pinya' in Sanskrit , which translates as "endless wisdom". However, the word 'Ānanda' in Pali , Sanskrit as well as other Indian languages mean "bliss". It is a popular Buddhist and Hindu name. The attributes of the Buddha, his infinite wisdom "Anandapinnya in Burmese and Pali" is commemorated in its name 'Ananda'. [ 2 ] [ 3 ] [ 8 ] Legend [ edit ] The legend associated with building of this temple ended in tragedy for the builders. Eight (8) monks who approached the King Kyansittha seeking alms gave a graphic description of the Nandamula Cave temple in the Himalayas where they had meditated. When the king invited them to the palace to hear more details, the monks invoked their meditative psychic skills and vividly explained to the King, the landscape of the place they had lived. The King, pleased with this show of their skills, requested the monks to build a temple in the middle of the Bagan plains creating cool conditions in the temple. After the monks completed the temple construction, the King, in order to retain the uniqueness of the temple, got the architects (monks) killed to ensure that another similar structure was not built by them anywhere else. You could see it only in Bagan [ 2 ] [ 3 ] George Coedes states a different fate for the architect, "he and a child were buried alive to serve as guardian spirits of the temple." [ 9 ] : 156 History [ edit ] History of this perfectly dimensioned temple structure built in 1105 is credited to King Kyansittha. It denotes "the stylistic end of the Early Bagan period and the beginning of the Middle period". [ 3 ] The timing of building this temple is considered as a culmination of religious education that began during the Pahothanya temple building activity in 1080 AD. The Theravada Buddhism adopted by the King motivated him to present the teachings of Buddha to his people in an accurate and a genuine way through the medium of this temple, to unite Burma under one flag and thus "creating mass religious enthusiasm". It has been inferred that the King, as the upholder of the Law wanted to convey his firm belief in the Buddhist doctrine according to his interpretation: [ 4 ] (He) shall purify (and) make straight, write down (and) establish all the holy scriptures. (He) shall proclaim (and) voice the Law, which is even as a resounding drum. (He) shall arouse all the people that are slumbering carelessly. (He) shall stand steadfast in the observance of the commandments at all times. Through the unique iconographic depictions (in stone images, the numbered jataka plaques and the standing Buddha images), presented in the symmetrically planned layout of the Ananda temple was built by the King Kyansittha to establish and convey his doctrine to his people in a vivid visual format. [ 4 ] It is said that the King who founded this temple became illustrious in the sphere of Buddhist architecture . [ 10 ] Architectural history [ edit ] Ananda Temple in 1890s (left) and 2007 The architectural history of the temple has been widely analysed. While the Mon architecture of Burmese origin is noted, strong influence of Indian Architecture from many temples of Bengal and Orissa is very clear. In this regard archaeologist Duroiselle has made these observations: [ 7 ] "There can be no doubt that the architects who planned and built the Ananda were Indians. Everything in this temple from shikara to basement, as well as the numerous stone sculptures found in its corridors, and the terra-cotta plaques adorning its basement and terraces, bear the indubitable stamp of Indian genius and craftsmanship...In this sense we may take it, therefore, that the Ananda, though built in the Burmese capital, is an Indian temple." It is also said that the architecture of this temple greatly represents the Ananta cave temple in Udayagiri hills in Odisha . [ 10 ] The temple is being restored with the help of the Indian government. [ 11 ] Architecture [ edit ] Plan of Ananda Temple Ananda temple is a perfectly dimensioned stylistic structure, a fusion of Mon and Indian architectural styles and is the central monument built in the Pagan valley. It has been built with bricks and plaster depicting iconographic images in stones and plaques ( terra-cotta glazed tiles) with the main purpose of educating the people of the region in the religious ethos of Theravada Buddhism and in accordance with the personal beliefs of the King Kyansittha. [ 4 ] [ 12 ] Layout [ edit ] Frescoes of Buddha from birth to death depicted in the passage The temple structure is in the form of a simple corridor. It has a central square of 53 metres (174 ft); gabled porches project out by 57 feet (17 m) from each face of the square. The superstructure is 51 metres (167 ft) in height formed by decorated terraces. The total length of the temple from end to end is about 290 feet (88 m). In the crucifix layout adopted for the temple, the main plinth over which two receding curvilinear roofs have been built followed by four receding terraces above it. The four terraces lead to the top, where it terminates in a small pagoda and an umbrella known as hti , which is the name of the top ornament found in almost all pagodas in Myanmar. The core part of the temple, at the centre of the terraces, is in the shape of a cube, which houses the four standing Buddha massive statues on its four faces, each of 9.5 metres (31 ft)height (above a 8 feet (2.4 m) high throne). The spire rises above this cubic structure. Two passages delimit the central cube, with the four sides of the cube; each face is decorated with a massive image of the Buddha. The four entrances are provided with teak wood carved doors in the interior and these entrances form a perfect cross or cruciform. A stupa finial crowns each entrance. Jataka scenes (life story of the Buddha – said to be sourced from Mon texts) are embossed over 554 terra cotta tiles that decorate the base, sides and terraces. Each niche, inside the four entrances of the cubical structure, form the sanctum where standing Buddhas, fully gilded and in different mudras or forms are deified and worshipped. [ 2 ] [ 3 ] [ 4 ] [ 7 ] [ 12 ] The two circumambulatory passages have vaulted roof. In these inner passages, surrounding the central cubicle, sculptural ornamentation in the form of 80 large reliefs carved out of volcanic rocks, representing Buddha's life from birth to death, are depicted. The two main passages have cross passages also, which provide the link between the porch and the standing images of the Buddha. [ 7 ] [ 13 ] [ 14 ] The external walls of the temple are 39 feet (12 m) in height. They are adorned with fortified parapet walls. Each corner has a ringed pagoda. [ 7 ] Buddhas [ edit ] Standing Buddha – Kassapa – South facing Standing Buddha – Kakusandha – North facing Standing Buddha – Konagamana – East facing Standing Buddha – Gautama – West facing The four standing Buddhas ( pictured ) are adorned with gold leaf and each Buddha image faces a direction, from north to south, stated to represent attainment of a state of nirvana ; each is given a specific name, Kassapa (in Pāli, it is the name of a Buddha, the third of the five Buddhas’ of the present kalpa (the Bhaddakappa or 'Fortunate Aeon'), and the sixth of the six Buddhas prior to the historical Buddha) – south facing, Kakusandha (in (Pāli) is the name of the twenty-fifth Buddha, the first of the five Buddhas of the present kalpa, and the fourth of the seven ancient Buddhas) – north facing, Konagamana (the name of the twenty-sixth Buddha, the second of the five Buddhas of the present era, and the fifth of the seven ancient Buddhas) – east facing, and Gautama facing west. Out of the four images, the images facing north and south are said to be original, of the Bagan-style depicting the dhammachakka mudra , a hand position symbolizing the Buddha's first sermon, while the other two images are new replacements, after the originals were destroyed by fires. All the four images are made of solid teak wood (some say that the southern image is made of a bronze alloy). [ 2 ] [ 3 ] [ 4 ] The four Buddhas placed in the sanctum, called the "Buddhas of the modern age", give an indication of Buddha's "sense of the omnipresence through space and time". [ 4 ] The original south facing Buddha (called the Kassapa ) has a unique architectural display, as, when it is viewed from close quarters depicts a sad look. However, the same image viewed from a distance gives an expression of mirthfulness. [ 2 ] [ 4 ] The east and west facing Buddha images are made in the later Konbaung or Mandalay style. The east-facing image of Buddha (known as 'Kongamana') is shown holding, between the thumb and middle finger, a small nutlike sphere – a herb. This herb is said to symbolically represent the Buddha suggesting dhamma ( Buddhist philosophy ) as a cure for misery and distress. In this mudra, both arms hang at the sides with palms stretching out. This mudra is not seen in traditional Buddhist sculpture outside this temple. [ 2 ] [ 3 ] [ 4 ] In the west-facing Buddha, titled Gautama , the abhaya mudra is displayed – with hands outstretched in the gesture of fearlessness. At the feet of this Buddha two life-size statues made in lacquer , representing the crowned figure of King Kyanzittha kneeling piously in prayer, and Shin Arahan, the Mon monk who converted the King into Theravada Buddhism (meaning "the Teaching of the Elders") and as a primate also crowned the king, are also displayed. The western portico also depicts two Buddha footprint symbols on pedestals. [ 2 ] [ 3 ] [ 4 ] [ 5 ] An inscription below the small image of the King states that the King perceived himself as a " bodhisattva , a cakkavattin and incarnation of Lord Vishnu". [ 4 ] Plaques [ edit ] A typical plaque with inscription at the bottom Plaques are a special feature in the temple complex, which depict jataka tales; each plaque made of glazed Terra-cotta tiles representing one story of the jataka. Plethora of plaques is seen on the temple walls and terraces (five numbers). These are: at the base of the structure extending, from south to west, there are 552 images of Mara ’s marching warriors intending to attack Buddha, and also a procession of gods; west to the north entrance warriors are shown vanquished by supernatural powers of Buddha; southwest comer of the first terrace to the northern side of the third terrace display 537 plaques, each related to a specific story from Jataka tales; on the northern side of the second terrace up to the fifth terrace depictions are from Tey Mi Jataka; the fifth terrace depicts 547 plaques of stories of Vessantara Jataka in two parts, 537 plaques in the first tier and the second set above the first tier on the roof depict 375 plaques of the last ten jatakas, the Mahanipata ; the last ten lives of the Buddha are depicted in plaques of green colour. There are depictions of camels on the plaques, suggesting the influence of trade routes on the region. [ 3 ] [ 4 ] Stone images [ edit ] The stone sculptures, in the outer vaulted corridors, are considered unique in Bagan. 1500 stone images (mostly unclear due to wear and tear) are seen inside the temple. The special images carved from a single rock (average size is 3.5 feet (1.1 m) high, 2.42 feet (0.74 m) broad and 1 foot (0.30 m) thick) are those that depict 80 episodes from Buddha's life. Also seen are forty episodes from the last life of the Lord Buddha, beginning with an image of Setaketu Deva to Prince Siddhartha peeping through the tapestry for a last look at his consort Yasodhara and his newborn son Rahula , before he left the palace for the life of recluse in the forest. [ 3 ] [ 4 ] Paintings [ edit ] Wall paintings inside the prayer halls of the temple have been mostly white washed. Some of the paintings still discernible on the south-west column of the northern devotional hall have been restored by the Department of Archaeology of Myanmar. Some of the paintings seen in good condition are: on the walls and ceiling of the eastern devotional hall; the pictures of re-appeared Buddha, north of the statue of standing Buddhas, Arahats and lotus flowers; and floral designs on the western entrance. [ 3 ] [ 4 ] Other structures [ edit ] Ananda Oakkyaung is simply a Monastery built with red bricks, located within the precincts of the Ananda Temple. It was built in 1137 AD. Paintings of the 18th century are seen in the walls of the monastery, which also have an inscription that attributes building of the monastery to three brothers. Shin Thuddhamma Linkara, a highly venerated monk lived here. Tharabha Gate is the only surviving gate of the ancient Bagan city (previously known as Pagan); the Ananda temple is located to its southeast. Tharabar, a word derived from the Pali word "Sarabhanga", which literally means "shielded against arrows". Tharabar was one of the 12 gates of entry to the Pagan city built by King Pyinbya, in 849 AD. Some stucco engravings of Ogres are still seen on the gate. It is believed that two spirits protect it namely, the brother "Lord of the Great Mountain" on the left of the gate and the sister "Golden face" on the right side. [ 2 ] Museum [ edit ] A field museum has been established near the Ananda temple in Pagan. The purpose is to study the artifacts in the ambience of their original settings. [ 8 ] Festivals [ edit ] The temple is also home to an annual week-long festival that is held during the month of Pyahto (December to January). During the festival, 1000 monks perform continuous chanting of scriptures for 72 hours. Thousands of villagers from miles around set up encampments around the temple. On the morning of the full moon day, they offer gift bowls to the monks in attendance. [ 2 ] [ 3 ] See also [ edit ] List of tallest structures built before the 20th century References [ edit ]
|
|
1,105
|
13.93000°E
|
42.23389°N
|
Abbey of San Clemente a Casauria
|
https://en.wikipedia.org/wiki/Abbey_of_San_Clemente_a_Casauria
| 1,203
|
Italy
|
Night view of the abbey church's façade The abbey of San Clemente a Casauria is an abbey in the territory of Castiglione a Casauria , in the province of Pescara , Abruzzo , Central Italy. History [ edit ] The abbey was founded in 871 by Louis II , great-grandson of Charlemagne , after a vow made during his imprisonment in the Duchy of Benevento . Initially named for the Holy Trinity, it was dedicated to St. Clement when the latter's remains were brought there in 872. In its history the abbey was plundered several times: by the Saracens in 920 and repeatedly by the Norman count Malmozzetto between 1076 and 1097. After this destructive episode, the Benedictine abbot Grimoald promoted the rebuilding of the church, which was reconsecrated in 1105. However, the work ended only in the late 12th century under abbot Leonate (1152–82, cardinal from 1170). Architecture [ edit ] The façade is preceded by a portico with columns and capitals; under it are three portals, the middle and larger one having a lintel and a tympanum with sculpted stories of St. Clement and of the abbey's history. In the center of the tympanum is the figure of San Clemente in his Papal clothing, with Saints Fabio and Cornelius at his right side and Abbot Leonate, to his left, presenting a model of the rebuilt abbey to its patron. The bronze doors were made (in 1191) when Abbot Iole was in charge and are divided into 72 rectangular panels depicting various images such as crosses, abbots, rose patterns and 14 castles (and their estates) that were subjects of the Abbey. Inside the (now deconsecrated) church there are a beautiful paschal candelabrum and a massive ambo dating from the 11 hundreds. The configuration is a nave and two aisles with semicircular apse. The high altar is a Palaeo-Christian sepulchre, surmounted by a 14th-century ciborium . Next to this is a large marble casket containing the relics of San Clemente. In the crypt two apse railings divide the primitive church from that rebuilt by the Benedictines in the 12th century. See also [ edit ] San Liberatore a Maiella References [ edit ] Gavini, Ignazio Carlo (1927–1928). Storia dell'architettura in Abruzzo . Milan: Bestetti e Tumminelli. Guida all'Abruzzo . Touring Club Italiano. L'Italia . Istituto Geografico De Agostini. Signage and descriptive material at the site. External links [ edit ] Wikimedia Commons has media related to Abbazia di San Clemente a Casauria . (in Italian and English) Abbazia di San Clemente a Casauria Web Site San Clemente a Casauria Pages in Paradoxplace 42°14′02″N 13°55′48″E / 42.23389°N 13.93000°E / 42.23389; 13.93000 Authority control databases International VIAF 2 National Germany 2 United States France BnF data Spain Vatican Other IdRef
|
|
1,107
|
5.9950°W
|
37.3852°N
|
Postigo del Aceite
|
https://en.wikipedia.org/wiki/Postigo_del_Aceite
| 453
|
Spain
|
Image of Postigo del Aceite today. Market next to the postigo in a work by Joaquín Turina in 1907 ( Thyssen Museum of Málaga ) The Postigo del Aceite (gate of the Oil) (known in Muslim times as bad al-Qatay ) is with the Puerta de la Macarena and Puerta de Córdoba the only three access preserved in today of those who had the walls of Seville , Andalusia , Spain . Located in the old area of Puerto de Indias , next to the Correos building in the barrio del Arenal of Seville , including the calle Dos de Mayo and the calle Almirantazgo, bordering the Royal Dockyards of Seville . History and description [ edit ] It was built in the year 1107, in times of Ali ibn Yusuf , and renovated in 1572 - 1573 by architect Benvenuto Tortello under the mandate of Francisco Zapata y Cisneros , 1st Count of Barajas , who then held the position of mayor . It was well known as it was the place where entered the oil to the city. In the 18th century was opened on its right side a small chapel which had a baroque altarpiece with an image of the Immaculate Conception attributed to Pedro Roldán . In the 12th century had a different function, and was known as bad al-Qatay ( gate of Boats ) as the Almohad rose next to the Royal Dockyards of Seville for the construction of ships; later it recorded in some sources as puerta de la Alhóndiga (gate of the Granary), puerta del Aceite (gate of the Oil) or puerta de la Aceituna (gate of the Olive), according to tradition because through that gate come these products in the city. On the inside of the postigo, on the arch, it features a carved stone representation of Saint Ferdinand , with the bishops Isidore and Leander and, under it, a tombstone that attests the reform by Tortello. Inside the arch it can see the rails where were placed the planks to stop the constant flooding of the river. [ 1 ] The entrances of the walls were divided into puertas and postigos, defined as postigos the non-main gates of the city or town. This place is also known in Seville as arco del Postigo . Much of the walls was demolished by the City Council of Seville in the 19th century on the occasion of the new urbanization and ensanche of the city. Currently only they remain completes the puerta de la Macarena and this postigo, and preserved little remains of what were the puerta Real , the puerta de Córdoba and postigo del Carbón . For the architectural environment and narrowness, it is one of the favorite points of the confraternities to see pass the Confraternities of the Holy Week in Seville . Costalero of the Postigo [ edit ] The Holy Monday of year 1999 is sadly remembered for having happened in the arch the death of the Costalero Juan Carlos Montes happened to the shout of Al cielo con Él (To the heaven with he) See also [ edit ] Walls of Seville References [ edit ]
|
|
1,107
|
0.075338°W
|
52.322826°N
|
St Ives Bridge
|
https://en.wikipedia.org/wiki/St_Ives_Bridge
| 4,233
|
United Kingdom
|
Medieval bridge over the Great Ouse in St Ives , Cambridgeshire , seen from The Quay; the Chapel is visible View from the bridge St Ives Bridge is a 15th-century bridge crossing the River Great Ouse in St Ives , Cambridgeshire , England . It is noted for being one of only four bridges in England to incorporate a chapel (the others being at Rotherham , Wakefield , and Bradford-on-Avon ). [ 1 ] [ 2 ] History [ edit ] Prior to the first bridge here there was a ford across the Ouse, probably dating back several thousand years. The river was at that time wider and shallower until locks were added to make it navigable. [ 3 ] The St Ives settlement was developed by the monks of Ramsey Abbey who built the town's first bridge, a wooden structure, in 1107. In 1414 it was decided to replace this bridge with a stone arch bridge , which was completed in 1425, adding the bridge chapel dedicated to St Leger [ 4 ] in 1426. [ 4 ] Such chapels were relatively common in medieval times and served as toll-houses, [ citation needed ] as well as to allow travellers to pray or to give thanks for a safe journey. They also hosted church services. During the English Civil War the bridge was partially blown up by the troops of Oliver Cromwell to prevent King Charles I 's troops approaching London from the Royalist base in Lincolnshire . The two arches on the southern side were demolished and a drawbridge installed in 1645 as a defensive measure by Cromwell's forces, who held the town. [ 4 ] The drawbridge remained in use until 1716. [ 4 ] When the bridge was partially rebuilt that year, the shape of the new arches was different from the surviving ones, leaving the bridge with two rounded arches on its South side and two Gothic arches on the North. [ 3 ] At some point, the bridge chapel fell into disuse and was for a time used as a bawdy house during the eighteenth century. St Ives was an official last stop of all the many drovers with their livestock, who descended upon St Ives for accommodation, refreshments and other relief, during what was a tiring journey to Smithfield market within London. At one time there were dozens of doss houses, inns and other bawdy houses, in and around St Ives town centre. The bridge in 1902, before the extra stories were removed. The chapel was restored in 1930, having previously served as a toll house , inn and as a private residence. It had been designed as a chapel, though, and dedicated by the monks to Saint Leger. By 1736 it was being used as accommodation , and in that year two extra floors were added. [ 4 ] During the 1850s and 1860s it was turned into a notorious public house named "Little Hell", then a doctor's surgery. [ 4 ] By 1930 the structure was found to be weakened so the extra stories were removed and the chapel restored. [ 4 ] As a result, the roof is modern. An unusual feature is the crypt , about two metres above the river's water level. The bridge and the chapel are now Grade I listed and a Scheduled Ancient Monument . [ 5 ] The chapel is still used for public worship on an occasional basis. [ 6 ] The bridge served as the primary southern entrance to the town and the only road bridge across the river until Harrison Way by-pass was added down-river to the east in 1980. [ 3 ] [ 4 ] Preservation [ edit ] The bridge is one of nine Scheduled Ancient Monument Grade 1 in Cambridgeshire. All maintenance must be carried out in a sympathetic manner to preserve its aesthetic and functional aspects. [ 7 ] Since 1980 the foundations have been strengthened and the structure reinforced. [ 4 ] In 1998 the bridge was resurfaced, special precautions being taken to prevent water ingress into the structure. In 2002, external lighting of the arches and chapel was fitted, along with internal lighting of the chapel and lights fitted into the pedestrian refuges at each pier. English Heritage control all work on the bridge, although it is not one of the properties in Cambridgeshire that they own. [ 8 ] Recent events [ edit ] 1976 [ edit ] A gravel lorry breached the parapet. [ 4 ] St Ives sub-aqua club recovered the stones from the river-bed. George Hunter from Huntington was one of the local tradesman assigned to restore the chapel after this event. All tradesmen who worked on the project have details engraved on the stones that rebuilt the bridge chapel. 1947 [ edit ] During the big flood this year an amphibious tank breached the parapet. [ 4 ] 1941 [ edit ] A Home Guard Bren gun carrier breached the parapet. [ 4 ] See also [ edit ] Old Bridge, Huntingdon , 6 miles up-stream. Chantry Chapel of St Mary the Virgin, Wakefield Rotherham Bridge St Mary's Bridge Chapel (Derby) Notes [ edit ]
|
|
1,108
|
30.555237°E
|
50.434715°N
|
Gate Church of the Trinity, Kyiv Pechersk Lavra
|
https://en.wikipedia.org/wiki/Gate_Church_of_the_Trinity,_Kyiv_Pechersk_Lavra
| 654
|
Ukraine
|
Church in Kyiv, Ukraine Church in Kyiv, Ukraine. Part of the Kyiv Pechersk Lavra. Gate Church of the Trinity Троїцька надбрамна церква The Gate Church of the Trinity sits atop the Holy Gates , an entrance to the Kyiv Pechersk Lavra . 50°26′05″N 30°33′19″E / 50.434715°N 30.555237°E / 50.434715; 30.555237 Location Kyiv , Ukraine . Part of the Kyiv Pechersk Lavra . Denomination non-denominated Architecture Architect(s) Mykola Sviatosha Style Ukrainian Baroque Groundbreaking 1106 Completed 1108 Specifications Number of domes 1 Immovable Monument of National Significance of Ukraine Official name Троїцька надбрамна церква ( Trinity Gate Church ) Type Architecture Reference no. 260088/3 The Gate Church of the Trinity ( Ukrainian : Троїцька надбрамна церква , romanized : Troits’ka nadbramna tserkva ) is a historic church of the cave monastery of the Kyiv Pechersk Lavra in Kyiv , the capital of Ukraine . Originally being built as in the church style of Kievan Rus' , the Gate Church of the Trinity is now decorated in the Ukrainian Baroque style, having been reconstructed many times through its history. History [ edit ] The Gate Church of the Trinity was built in 1106-1108, as part of the Pechersk Lavra fortification , atop the main entrance to the monastery. The church was founded by the grandson of the Prince of Chernigov , Sviatoslav II , who renounced his princely status and became a Pechersk monk on November 17, 1106 under the name of Mykola Sviatosha. [ 1 ] Mykola spent 36 years as a monk, and founded the Monastery Hospital of the Trinity within the Lavra. After destruction of the Dormition Cathedral during the Mongol invasion of 1240, it became the main church of the monastery. [ 1 ] In 1462, the most complete edition of the Kiev Pechersk Paterikcon was written here. [ 2 ] In 1631, Petro Mohyla founded a school at the monastery's hospital. The school was later merged with the Kyivan Brotherhood School . [ 1 ] Since 1701, the combined schools became a Kyivan Academy. The church was studied by P. Lashkarev, I. Morgilevsky, Y. Aseev, F. Umantsev and S. Kilesso. In 1957-1958, their restoration efforts included replacing lost decorations, gilding the dome, and retouching external oil paintings. [ 1 ] Architecture [ edit ] The eighteenth century composition " The Council of Nicaea ," by F. Pavlovskyi, I. Maksimovych, and A. Galik and others. The oil paintings on the exteriour walls leading to the Holy Gates below the church. Plan of the Gate Church of the Trinity. The church is located atop the Holy Gates ( Ukrainian : Святі ворота ), the main entrance to the monastery. [ 3 ] Near the entrance are rooms for the gate's guards. [ 1 ] The church is wedged between monastery walls, helping to protect the gates. [ 1 ] The monastery walls, covered in frescoes, were renewed in 1900-1901 by D. Sonin and others. [ 1 ] The Gate Church of the Trinity is divided into three naves , each containing a spherical apse off the western side. An external stone stairway leads to the church. [ 4 ] [ 5 ] Several narrow window openings and the overall visually uplifting effect create a heightened sense of spiritual power. The church is a typical Kievan Rus' construction built on an ancient stone church. [ 3 ] Kievan Rus' architectural motifs can still be seen on the southern façade . The church retained its Ukrainian Baroque exteriour after restoration in the 17th-18th centuries by Master V. Stefanovych. [ 3 ] [ 5 ] During restoration, a new cupola was erected and interior paintings were added. In 1725, a large sixteen-candle chandelier was installed. During the 1730s-1740s, artists from the monastery's iconography workshop decorated the church's interiour. [ 5 ] The church's frescoes were based on Biblical scenes , and the exterior decor was based on Ukrainian folklore. Eighteenth-century compositions by F. Pavlovskyi, I. Maksimovych and A. Galik (with help from M. Yakubovych and I. Kadelskyi) have been preserved to this day, including "Faces of the Holy Martyr ," "The Traders Cast Out of the Temple" and " The Council of Nicaea ." The names of the painters were unknown for many years and only recently were revealed after archival research. [ 5 ] Interiour frescoes are a unique collection of 18th-century traditional Ukrainian architecture. [ 1 ] Allegorical and historical Biblical topics are given in a noncanonical way; some include Ukrainian national ornaments. [ 1 ] Carved wooden chairs, painted in Ukrainian folk tradition, are installed along the western wall. [ 1 ] Footnotes [ edit ]
|
|
1,111
|
44.145944°E
|
13.922083°N
|
Queen Arwa Mosque
|
https://en.wikipedia.org/wiki/Queen_Arwa_Mosque
| 4,677
|
Yemen
|
Historic mosque in Jiblah, Yemen Queen Arwa Mosque Mosque of Queen Arwa bint Ahmad al-Sulayhi Masjid Al-Malikah Arwā ( مَسْجِد ٱلْمَلِكَة أَرْوَى ) Masjid Al-Malikah Arwā bint Aḥmad Aṣ-Ṣulayḥī ( مَسْجِد ٱلْمَلِكَة أَرْوَى بِنْت أَحْمَد ٱلصُّلَيْحِي ) View of a minaret , as seen from the courtyard Religion Affiliation Islam District Jiblah Province Ibb Governorate Region South Arabia Status Active Location Location Jiblah Cercle Jiblah Country Yemen Location in Yemen Show map of Yemen Queen Arwa Mosque (Middle East) Show map of Middle East Queen Arwa Mosque (West and Central Asia) Show map of West and Central Asia Geographic coordinates 13°55′19.5″N 44°08′45.4″E / 13.922083°N 44.145944°E / 13.922083; 44.145944 Architecture Type Mosque Style Islamic Completed 1111 C.E. (532 A.H. ) 1358 C.E. (renovation) Specifications Dome (s) 2 Minaret (s) 2 The Mosque of Queen Arwa bint Ahmad Al-Sulayhi ( Arabic : مَسْجِد ٱلْمَلِكَة أَرْوَى بِنْت أَحْمَد ٱلصُّلَيْحِي , romanized : Masjid Al-Malikah Arwā bint Aḥmad Aṣ-Ṣulayḥī ), or simply the Queen Arwa Mosque , is a historical mosque in Jibla , Yemen . It was built between 1056 and 1111 C.E. by Queen Arwa al-Sulayhi and her tomb had later become the site of pilgrimage. [ 1 ] [ 2 ] [ 3 ] It retains its importance as one of the oldest ancient Yemeni mosques. [ 4 ] It is also known as Hurrat-ul-Malikah Mosque, as the queen was often referred as Al-Malika Al-Hurra, which means "The Noble Queen". History [ edit ] The construction of the mosque is attributed to Queen Arwa bint Ahmad al-Sulayhi, who ruled the Sulayhid state of Yemen for the period between 1085 and 1138. [ 2 ] When Queen Arwa moved to the city of Jibla in 1087, she ordered the conversion of the Palace of Dār al-ʿIzz ( Arabic : دَار ٱلْعِزّ , lit. 'Home of the Pride') into a mosque. The mosque still retains its architectural and decorative elements of the time which show the extent of the influence of Fatimid architecture . [ citation needed ] Architecture [ edit ] The complex is rectangular with an open courtyard (17.80 m 2 × 20.00 m 2 (191.6 sq ft × 215.3 sq ft)) in the middle, surrounded by four corridors. The wall of the qiblah is located at the northern hallway. The area of the qiblah is accessible through five entrances on the southern side. It consists of four rows of high columns, some octagonal and some rectangular shaped. The roof is directly covered by the ceiling and the hall is covered with wooden beams dating back to the 11th-century, some of which were renewed in 1358. The southern hallway consists of southern wall with two entrances. The eastern hallway consists of two pillars with pointed columns. On the south-side of the western hallway there is a hall currently used as a madrasa for the memorization of the Quran . [ citation needed ] Courtyard Carved historical entrance Wooden ceiling Continuous running water at the mosque Minbar Mihrab [ edit ] The mihrab is located in the middle of the wall of the qiblah at the northern hallway. It is a simple cavity of about 85 cm deep, and topped by a tapered lace on two poles with floral and geometric motifs. The mihrab is surrounded by kufic inscriptions, which reads as follows: "In the name of God the Most Gracious the Most Merciful I accept your Lord and be among the worshipers and not of the ignorant and worship your Lord until there comes to you the certainty (death)", and decoration of niche from the inside and variety of plant decorations which includes leaves of grapes. On the side of the mihrab there is an inscription written in kufic of script from Surah At-Taubah 18 . The mihrab is painted with modern chemical paint. [ citation needed ] Minarets [ edit ] The mosque has two minarets , one located on south-east, and another on south-west. The eastern minaret consists of a high square stone based body with sixteen ribs. [ citation needed ] Both of the mosque's minarets, as seen from below View from the entrance, January 1970 As seen from the Palace of Queen Arwa View of the mosque, nestled in the buildings of Jibla and slopes of the Sarat Mountains , as seen from the palace Mausoleum of the Queen [ edit ] It was built as ordered by the queen and is located on the north-west corner of the mosque. The site of her tomb was separated from the building of the mosque as she mentioned in her will and told by eyewitnesses and judges. The facade of the mausoleum is adorned with architectural elements, in the form of hollow niches in the eastern wall. Out of four entrances, there are two in the south which have width of 60 cm (24 in), height of 1.60 metres (5.2 feet) and depth of 10 cm (3.9 in). The kufic line is engraved with a prominent kufic floral engraving design and Biblical scripts on the façade. [ citation needed ] Wooden tasbih of Hurrat-ul-Malikah Mausoleum of the Queen inside the Mosque The Queen's grave See also [ edit ] List of mosques in Yemen References [ edit ]
|
|
1,112
|
44.8075°E
|
41.6914°N
|
Tbilisi Sioni Cathedral
|
https://en.wikipedia.org/wiki/Tbilisi_Sioni_Cathedral
| 12,252
|
Georgia
|
Orthodox Christian cathedral in Tbilisi, Georgia Cathedral of Saint Mary of Zion სიონის ღვთისმშობლის მიძინების ტაძარი Sioni Cathedral in September 2023 Religion Affiliation Georgian Orthodox Church Location Location 4 Sioni Street, Tbilisi , Georgia Shown within Tbilisi Show map of Tbilisi Tbilisi Sioni Cathedral (Georgia) Show map of Georgia Geographic coordinates 41°41′29″N 44°48′27″E / 41.6914°N 44.8075°E / 41.6914; 44.8075 Architecture Type Church Completed Church: 6th–7th century, renovated 13th century and 17th–18th century. Belfry: 1812 Dome (s) 1 Cultural Heritage Monument of Georgia Official name: Sioni Cathedral Designated October 1, 2007 ; 17 years ago ( 2007-10-01 ) Reference no. 4877 Item Number in Cultural Heritage Portal 3433 Date of entry in the registry October 11, 2007 ; 17 years ago ( 2007-10-11 ) Accounting Card / Passport # 010404386 The Sioni Cathedral of the Dormition ( Georgian : სიონის ღვთისმშობლის მიძინების ტაძარი ) is a Georgian Orthodox cathedral located in Tbilisi , the capital of Georgia . Following a medieval Georgian tradition of naming churches after specific places in the Holy Land , the Sioni Cathedral bears the name of Mount Zion at Jerusalem . It is commonly referred to as the "Tbilisi Sioni" to distinguish it from other churches in Georgia with the same name. The Tbilisi Sioni Cathedral is situated in the historic Sionis Kucha (Sioni Street) in downtown Tbilisi, with its eastern façade fronting the right bank of the Kura River . The cathedral was initially built in the 6th and 7th centuries. Since then, it has been destroyed by foreign invaders and reconstructed several times. The current structure is based on a 13th-century version, with some modifications made between the 17th and 19th centuries. The Sioni Cathedral served as the main Georgian Orthodox Cathedral and the seat of the Catholicos-Patriarch of All Georgia until the Holy Trinity Cathedral was consecrated in 2004. History [ edit ] Sioni Cathedral as seen from the right side of the Kura River , 1870s According to medieval Georgian annals, the construction of the original church on this site was initiated by King Vakhtang Gorgasali in the 5th century. A hundred years later, Guaram , the prince of Iberia ( Kartli ), in c. 575 began building a new structure, which was completed by his successor Adarnase in circa 639. According to legend, both princes were buried in this church, but no trace of their graves has been found. This early church was destroyed by Arabs , and was subsequently built de novo . The cathedral was completely rebuilt by King David the Builder in 1112. The basic elements of the existing structure date from this period. It was heavily damaged in 1226, when its dome was ruined on the order of Jalal ad Din Mingburnu . It was subsequently repaired, but damaged again by Timur in 1386 and repaired by King Alexander I . It was again damaged during the Persian invasions in 1522 and in the 17th century. 19th-century sectional drawing showing Grigory Gagarin's frescoes In 1657, the Metropolitan of Tbilisi, Elise Saginashvili (died 1670), substantially restored the cupola , vaults, added the southern chapel, paintings and decorations, which is written on the southern annex, but the structure was again devastated in 1668, this time by earthquake . The regent of Kartli, batonishvili (prince) Vakhtang , carried out restorations of the cupola and stone plates of the cathedral walls in 1710, as it is carved on the northern wall. Thus, the current tufa facing of the church comes from that period. However, the church was again damaged by the invasion of the Persians in 1795. The cathedral's interior took on a different look between 1850 and 1860, when the Russian artist and general Knyaz Grigory Gagarin (1810–1893) composed an interesting series of the murals, though a number of medieval frescoes were lost [ clarification needed ] in the process. A portion of the murals on the western wall were executed by the Georgian artist Levan Tsutskiridze in the 1980s. The stone iconostasis dates to the 1850s, and was also created according G. Gagarin's design. It replaced the wooden iconostasis burned during the Persian invasion in 1795. To the left of the altar is the venerated Grapevine cross which, according to tradition, was forged by Saint Nino , a Cappadocian woman who preached Christianity in the Caucasus in the early 4th century. King Vakhtang III gave the reliquary itself in the early 14th century. The Sioni Cathedral was where the Russian Imperial manifesto on the annexation of Georgia was first published. On April 12, 1802, the Russian commander-in-chief in Georgia, General Karl von Knorring , assembled the Georgian nobles in the cathedral, which was then surrounded by Russian troops. The nobles were forced to take an oath to the Russian Imperial crown; any who disagreed were taken into custody. [ 1 ] [ 2 ] [ 3 ] Sioni Cathedral remained functional through Soviet times, and was partially renovated between 1980 and 1983. Architecture [ edit ] Eastern facade of the church with three faceted apsids The Sioni Cathedral is a typical example of medieval Georgian church architecture of an inscribed cross-in-square design with projecting polygonal apses in the east façade. Main entrance is in the west side. The dome with the tholobate is supported by the altar wall and two freely standing pillars (a more advanced design that appeared after the 11th century). Transition from the pillars to the tholobate is via pointed arches. In addition, the pillars are connected to the northern and southern walls by helm-shaped arches (probably 16th century). The yellow tuff from which the cathedral was built comes from Bolnisi , a town southwest of Tbilisi. The façades are simple, with few decorations, although there are bas-relief carvings of a cross and a chained lion on the western side and an angel and saints on the north. All sixteen windows have carved ornamental frames. Shallow carvings indicate late decoration. Tholobate of the church with decorations. Southeastern view Bell towers [ edit ] Tbilisi Sioni Old Bell Tower თბილისის სიონის ძველი სამრეკლო General information Type Bell tower Completed 1425 ; 600 years ago ( 1425 ) Technical details Material Brick , Stone Cultural Heritage Monument of Georgia Official name Sioni Bell Tower Designated October 1, 2007 ; 17 years ago ( 2007-10-01 ) Reference no. 4876 Item Number in Cultural Heritage Portal 3447 Date of entry in the registry October 11, 2007 ; 17 years ago ( 2007-10-11 ) Accounting Card / Passport # 010404385 Tbilisi Sioni New Bell Tower თბილისის სიონის ახალი სამრეკლო General information Type Bell tower Architectural style Neoclassical architecture Completed 1812 ; 213 years ago ( 1812 ) Technical details Material Brick Cultural Heritage Monument of Georgia Official name Sioni Bell Tower(New) Designated October 1, 2007 ; 17 years ago ( 2007-10-01 ) Reference no. 4878 Item Number in Cultural Heritage Portal 3864 Date of entry in the registry October 11, 2007 ; 17 years ago ( 2007-10-11 ) Accounting Card / Passport # 010404387 North of the cathedral, within the courtyard, is a freestanding three-story bell tower dating from the 1425 reconstruction by King Alexander I . Largely destroyed by the Persian shah Agha Mohammad Khan Qajar in 1795, it was restored to its present condition in 1939. Across the street stands another three-story bell tower; one of the earliest examples of Russian Neoclassical architecture in the region. [ 4 ] Complete in 1812, the bell tower was commissioned under Pavel Tsitsianov using money awarded in recognition of his conquest of Ganja for the Russian Empire . [ 5 ] View of the ceiling The murals, painted by G. Gagarin , and iconostasis, also designed by him in 1950s-60s, differed from traditional Georgian tradition. Burials [ edit ] The Sioni Cathedral serves as a burial ground for several notable churchmen, including the 20th-century Catholicoi-Patriarchs of Georgia , and economic and political figure Giorgi Maisashvili: Kyrion II , Leonid , Ambrose , Christophorus III , Callistratus , Melchizedek III , Ephraim II , Patriarch David V of Georgia Giorgi Maisashvili Pavel Tsitsianov References [ edit ]
|
|
1,112
|
51.702222°E
|
32.665°N
|
Chehel Dokhtaran minaret
|
https://en.wikipedia.org/wiki/Chehel_Dokhtaran_minaret
| 576
|
Iran
|
Chehel Dokhtaran minaret Religion Affiliation Islam Province Isfahan Location Location Jouybareh district , Isfahan , Iran Municipality Isfahan Shown within Iran Geographic coordinates 32°39′54″N 51°42′08″E / 32.665°N 51.702222°E / 32.665; 51.702222 Architecture Type Minaret Style Razi Completed 1112 Height (max) 40m Chehel Dokhtaran minaret ( Persian : مناره چهل دختران ) is a historical minaret in Isfahan , Iran . It is located in the Jouybareh district of Isfahan. According to the kufic inscription on the minaret, it is built in 1112. It is the fifth oldest minaret in Iran, which has an inscription. There's a big window on the minaret, which faces the qibla . This feature does not exist in other minarets of Isfahan. There is a spiral staircase in the minaret, which leads to the top of it. This minaret is 40 meters high. Originally, the minaret was higher, but in the course of time its height has been decreased. The minaret towers over the city quarter and can be seen from the far distance, but it is difficult to reach it through the mazes of winding alleys and narrow streets. [ 1 ] Etymology [ edit ] Chehel Dokhtaran in Persian means ' forty girls'. The origin of its meaning is unknown. The number 'forty' in the Iranian culture is used for exaggerating. Perhaps there was once a building beside it, which pertained exclusively to women and does not exist any more. The people of the Neighborhood call this minaret also Garland minaret . Garland was a British religious missionary , who came to Iran in the early 20th century and worked near the minaret. [ 1 ] References [ edit ]
|
|
1,114
|
60.6555°E
|
36.2664°N
|
Ribat of Sharaf
|
https://en.wikipedia.org/wiki/Ribat_of_Sharaf
| 1,850
|
Iran
|
Ribat, Caravanserai in Khorasan-e Razavi Province, Iran Ribat of Sharaf رباط شرف Ribat of Sharaf in 2013 General information Type Ribat , Caravanserai Architectural style Razi style , Iranian architecture Location Sarakhs , Khorasan-e Razavi Province , Iran , Year(s) built 1114-15, 1154 Grounds 4,863 square metres (52,340 sq ft) UNESCO World Heritage Site UNESCO World Heritage Site Part of The Persian Caravanserai Criteria (ii)(iii) Reference 1668 Inscription 2023 (45th Session ) The Ribat of Sharaf ( Persian : رباط شرف , lit. ' Robat-i Sharaf or Robat-e Sharaf ') is a historical ribat , or rest place for travellers, located in Razavi Khorasan province , Iran , between Merv and Nishapur . [ 1 ] [ 2 ] Built in the 12th century (first built 1114–15), [ 1 ] the building looks like a fortified rectangle from the exterior. [ 3 ] The courtyard and four-iwan floorplan is that of the traditional standard Iranian mosque . Overview [ edit ] In a desert area along the route between the cities of Marv and Nishapur lies the Ribat-i Sharaf , named after Sharaf al-Din ibn Tahir or Sharaf al-Din Qummi [ 1 ] who is believed to be its patron. Sharaf al-Din served as the governor of Khorasan for forty years and as a vizier during the reign of Sultan Sanjar (1118–1157). Not long after its construction, the building suffered destruction at the hands of Bedouins. However, it was soon, in 1154 restored and remodeled by Turkan Khatun, the daughter of the Khan and the wife of Sultan Sanjar. [ 1 ] The ribat preserves significant decorative elements and exquisite inscriptions that reflect the artistic characteristics of the period. It stands as an exceptional example of caravanserais and ribats from that era. The ribat consists of two sections within a single architectural framework. The entrance is located on the southeast side through a pishtaq , leading to a long iwan that opens onto an open rectangular courtyard. Along the same axial alignment, a corridor connects this courtyard to another open space, this time square-shaped. Continuing along this straight path leads to the second section of the ribat, culminating in another iwan and a dome. This axial line, beginning from the pishtaq at the façade and ending at the dome, divides the ribat into two nearly symmetrical halves. The first section of the building, which includes the rectangular courtyard, is surrounded on three sides: the southeast side housing the main entrance, the northeast aisle, and the southwest aisle. These three aisle are covered, with each featuring a central iwan . The northeast and southwest iwans share identical architectural compositions, each topped with a shallow dome. The main entrance iwan , however, is distinguished by the pishtaq at the entrance. The remaining covered areas, excluding the iwans , comprise small rooms intended for travelers and merchants. This section was primarily designated for visitors and itinerant merchants traveling along the Silk Road and the trade route on which this caravanserai is situated. See also [ edit ] Islamic architecture Islamic art Robat (disambiguation) Timeline of Islamic history References [ edit ]
|
|
1,114
|
4.0207°W
|
39.8570°N
|
Templar House, Toledo
|
https://en.wikipedia.org/wiki/Templar_House,_Toledo
| 337
|
Spain
|
The Templar House The Templar House in Toledo , is a residence in Castile-La Mancha , Spain . It was built and decorated between the years 1085 and 1114. [ 1 ] The property was once owned by the Knights Templar , and founds use as a guest house in the 14th century. [ 2 ] Description [ edit ] The most primitive elements of the whole are the remains of the hall of Caliphal time (10th century), located in the subsoil or basement, under the hall of the eastern wing. This hall has stucco walls and bicromo ornamentation, reminiscent of Mozarabic . It corresponds to an earlier state of the building, in which it would constitute the hall of the western wing of another courtyard located to its eastern side. The ground floor is distributed around the courtyard. From the 11th–12th century the hall, the alcove and the upper chamber of the western wing are conserved, with its corresponding alfarje . It highlights the transformation of the entrance arch made of gemade of horseshoe taifa to have a Mudéjar yeseria , decorated with vegetal motifs. [ 2 ] In the hall of the southern wing, the most important modification consists of the suppression of the lower part of the facade, to realize in yeseria gable door, flanked by two lion protomes and framed by double-arched stone, of slightly pointed horseshoe, which has two medallions with Castilian emblems. The ensemble is framed by a rectangular ornament ( arrabá ) with kufic legend inscribed, from the end of the 12th century or the beginning of the 13th century. In front, occupying space that originally belonged to another room, a raised porch was added, with a terrace on the deck, made up of two factory masons (originally also covered with yeseria ); They support a complex framework of carpentry, which imitates a thick beam, in which suras III and XLVIII of the Quran are partially carved. [ 2 ] References [ edit ]
|
|
1,115
|
94.7321°E
|
16.7817°N
|
Shwemokhtaw Pagoda
|
https://en.wikipedia.org/wiki/Shwemokhtaw_Pagoda
| 624
|
Myanmar
|
Buddhist Pagoda in Pathein, Myanmar Shwemokhtaw Pagoda Shwemokhtaw Pagoda Religion Affiliation Theravada Buddhism Location Location Pathein , Ayeyarwady Region , Country Burma (Myanmar) Shown within Myanmar Geographic coordinates 16°46′54″N 94°43′56″E / 16.7817°N 94.7321°E / 16.7817; 94.7321 Architecture Founder King Alaungsithu Completed 1115 ; 910 years ago ( 1115 ) Shwemokhtaw Pagoda ( Burmese : ရွှေမုဋ္ဌောစေတီ ) is a Buddhist pagoda in Pathein , Myanmar (formerly Bassein, Burma). It is bounded by Merchant St, Strand, Mahabandoola Road and Shwezedi Road. [ 1 ] At its southern pavilion is a revered image of the Buddha, Thiho-shin Phondawpyi ( သီဟိုဠ်ရှင် ဘုန်းတော်ပြည့် ဘုရား ). [ 1 ] It hosts a pagoda festival during the full moon of Kason (April/May), marking Visakha . [ 2 ] According to tradition, Shwemokhtaw Pagoda was founded by King Asoka of India in 305 BC. Bagan 's King Alaungsithu raised the height of the stupa to 11 metres (36 ft) in 1115 AD, and the Mon King Samodogossa raised it to 131 feet (40 m) in 1263. It is now 153 feet (47 m) tall, its top tier made of 13.9 pounds (6.3 kg) of solid gold, the middle tier of pure silver and the bottom tier of bronze, with some 829 diamonds, 843 rubies and 1588 semiprecious stones. [ 3 ] Notes [ edit ]
|
|
1,116
|
10.51306°E
|
43.72611°N
|
Santi Giovanni ed Ermolao, Calci
|
https://en.wikipedia.org/wiki/Santi_Giovanni_ed_Ermolao,_Calci
| 238
|
Italy
|
Church building in La Pieve, Italy Saints John and Ermolao , or Pieve di Santi Giovanni ed Ermolao is a Romanesque -style, Roman Catholic parish church, located in La Pieve , Calci , some 10 km outside Pisa , region of Tuscany , Italy . Facade and Bell-tower of Pieve History [ edit ] A church at the site was present in the 11th-century, but expanded after the relics of the martyred saint Ermolao was transferred into this church in 1111. [ 1 ] It was restored and expanded in 1617 using designs by Cosimo Pugliani . Within that time, the apse was also expanded and the transept was completed. Throughout the centuries since, the structure has undergone other changes including: an expansion of the left side of the façade, the opening of an entry on the right side, and the construction of the side altars and the arch over the font . The font was sculpted with classical images by followers of Biduino . [ 2 ] It includes the depiction of the river Jordan in human form, and the inclusion of angel statues. Similar classical forms characterize the interior of the basilica, which is divided into three naves by columns surmounted by neo-corinthian capitals. The facade is divided into a double row of blind arches. Among the works are: two paintings by Aurelio Lomi , a Madonna and Child by Cecco di Pietro , and what remains of a 12th-century painted wooden cross. The Bell tower [ edit ] The imposing square tower is located next to the left transept of the church. A short distance from the walls of the church, on the south side, is a majestic gateway arch. Some local historians speculate that the mighty quadrangular base of the tower is the ruin of an ancient defensive tower whose large foundations were hidden below the current street level. The presence of two windows on the north and east sides that are tall and narrow with wide internal splay, features typically loopholes included for archers, are partial evidence for the tower's defensive role, along with the structure's 9 meter width. Other authors in the past, however, have disregarded this as evidence, maintaining it is instead the result of folk legend. Bibliography [ edit ] Giovanni Benvenuti, La Rocca della Verruca e il sistema difensivo del Monte Pisano . Agnano Pisano, Stamperia Editoriale Pisana, 2004. References [ edit ]
|
|
1,117
|
15.88944°E
|
41.60833°N
|
Basilica of Santa Maria Maggiore di Siponto
|
https://en.wikipedia.org/wiki/Basilica_of_Santa_Maria_Maggiore_di_Siponto
| 1,006
|
Italy
|
Façade of the basilica. Aerial view of the site with the razed section of the original basilica outlined in metal girders The Basilica of Santa Maria Maggiore di Siponto is a church approximately three miles south of Manfredonia , Apulia , southern Italy. Once the cathedral of the city of Siponto , it received the status of Basilica Minor in 1977; it is dedicated to the Holy Virgin of Siponto (the town was moved to the new city of Manfredonia in the mid-13th century). The church was completed around 1117, when it was consecrated (perhaps in place of a pre-existing 6th century Palaeo-Christian edifice) and the relics of Laurence of Siponto were placed under the high altar. Description [ edit ] The building has an unusual square plan, consisting of two independent churches (one, underground, is the current crypt ), two apses on the southern and eastern walls, and a medieval monumental portal with two side lions, facing the road entering Manfredonia. The interior, with four pillars, dates to the 11th century, and once housed the icon of the Holy Virgin of Siponto (Italian: Maria Santissima di Siponto ), dated to the 7th century. The icon is now in the Manfredonia Cathedral , as well as the polychrome wood Byzantine statue of "La Sipontina" (6th century) The underground church dates to the early Middle Ages, and was replaced by the upper one after having been destroyed by an earthquake. See also [ edit ] Siponto External links [ edit ] Media related to Santa Maria Maggiore (Siponto) at Wikimedia Commons Page at Gargano Online website by Stefania Mola (in Italian) 41°36′30″N 15°53′22″E / 41.60833°N 15.88944°E / 41.60833; 15.88944 Authority control databases International VIAF National Germany
|
|
1,117
|
8.72028°E
|
40.87111°N
|
Nostra Signora di Tergu
|
https://en.wikipedia.org/wiki/Nostra_Signora_di_Tergu
| 518
|
Italy
|
This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "Nostra Signora di Tergu" – news · newspapers · books · scholar · JSTOR ( August 2015 ) ( Learn how and when to remove this message ) Nostra Signora di Tergu. Nostra Signora di Tergu is a parish church in Tergu , province of Sassari , Sardinia , Italy . One of the most outstanding examples of Romanesque architecture in the island, the church and the remains of the annexed abbey are located in a countryside area outside the village. The construction of the church is attributed to the Giudice of Torres Marianus I , who reigned from 1065 to 1082. In 1122 it was a possession of the abbey of Montecassino . It is mentioned in the Pseudocondaghe of Santa Maria di Tergu as having been consecrated in 1117, and built by workers from Pisa and Lombardy . In 1444 the church and the monastery became part of the archdiocese of Torres . Overview [ edit ] The church was built using slabs of red trachyte and of brighter limestone for the decorations. The façade, which is missing the upper part (crumbled down during the centuries) is divided into two levels. The lower one has two corner pilasters and two semicolumns supporting two arches with finely decorated archivolts in limestone. The central portal has an architrave with capitals, also in limestone, sculpted with acanthus motifs. The vegetable motifs are also present in the white frames of the upper level, showing a blind loggia with five arcades, in which are contained unusual geometrical decorations. Also particular are the side columns, having a zigzag pattern. The central arcade houses a small rose window . The exterior sides are characterized by false columns with Lombard bands . On the northern side is the square, sturdy bell tower. The interior is on the Latin cross plan, with a nave and a transept . The apse , with a quadrangular plan, was rebuilt in 1664. To the same age dated the barrel vault of nave, which has been replaced by the current wooden trusses . See also [ edit ] Portals : Architecture Catholicism Italy References [ edit ] Coroneo, Roberto (1993). Architettura Romanica dalla metà del mille al primo '300 . Nuoro : Ilisso. ISBN 88-85098-24-X . 40°52′16″N 8°43′13″E / 40.87111°N 8.72028°E / 40.87111; 8.72028
|
|
1,118
|
10.4035417°E
|
43.7162472°N
|
San Pietro in Vinculis, Pisa
|
https://en.wikipedia.org/wiki/San_Pietro_in_Vinculis,_Pisa
| 250
|
Italy
|
Façade. San Pietro in Vinculis is a Romanesque -style, Roman Catholic church in Pisa , region of Tuscany , Italy . History [ edit ] It was built by the Augustinians in 1072-1118 over a pre-existing edifice. The rectory was added a few years later. The structure follows the Pisan Romanesque style established by Buscheto . It has a nave and two aisles with apses. The façade is articulated by pilaster strips , blind arches, oculi (small circular windows), lozenges and mullioned windows . In the interior the intarsia pavement lies over a crypt with groin vaults and Roman capitals, perhaps the relic of an ancient market loggia later turned into a Christian temple. It houses a Roman sarcophagus, remains of frescoes and a Crucifix on panel from the 13th century. In the rectory are frescoes from the 13th and 15th centuries and 18th century stuccoes. The bell tower was in origin a civil tower (late 11th-early 12th century). For years, the church kept a famous manuscript containing a digest of the Corpus Juris Civilis of Emperor Justinian I of the Eastern Roman Empire. The document had fallen into Pisan hands after the sack of Amalfi in 1137. After Pisa fell in 1406, the Florence the document was transferred to the latter city. [ 1 ] 43°42′58.49″N 10°24′12.75″E / 43.7162472°N 10.4035417°E / 43.7162472; 10.4035417 References [ edit ]
|
|
1,119
|
9.123333°E
|
39.213889°N
|
Basilica of San Saturnino
|
https://en.wikipedia.org/wiki/Basilica_of_San_Saturnino
| 1,751
|
Italy
|
Basilica of San Saturnino. The Basilica of San Saturnino is a Palaeo-Christian church in Cagliari , southern Sardinia , Italy. History [ edit ] The church is mentioned for the first time in the early 6th century. This church had been likely erected near the burial place of St. Saturninus of Cagliari , who, according to the Passio sancti Saturni (a medieval document telling the saint's story), had been martyred in 304. In 1089 the giudice of Cagliari , Constantine II of Cagliari , donated the complex, including also a monastery, to the Benedictines of the Abbey of St. Victor of Marseille . In the occasion the church was restored in Provençal-Romanesque style . The renewed basilica was consecrated in 1119. Remains of the western arm. In 1324, during the siege of the quarter of Castello (held by the Pisans) by the Aragonese , the monastery was damaged. In 1363 King Peter IV of Aragon gave the site to the Knights of Sant Jordi d'Alfama . In the following centuries the complex decayed. In 1614 the area was excavated in search of the relics of Cagliari's early martyrs, later brought in the city's Cathedral . In 1669 some material from San Saturnino were re-used for the Baroque renovation of the latter church. In 1714 the church was re-dedicated to Sts. Cosmas and Damian . In 1943 the church was damaged by Allied bombings . After World War II it was restored. In 1978-1996 the church remained closed for restorations. It was reconsecrated in 2004. Description [ edit ] The church is located within a walled area including a Palaeo-Christian necropolis, which is still being excavated. Today only part of the original basilica, which was on the Greek cross plan with a transept and a semi-spherical dome; all the four arms had a nave and two aisles. The current church consists of the dome-covered area (dating to the 5th-6th centuries) and the eastern arm, with a nave and two aisles, which ends with a semicircular apse . The western façade, partly ruined, is divided into three sectors. The side ones have portals with architraves , surmounted by round lunettes . The current church's entrance is in the area of the former western arm, and features modern additions from the 20th century restoration. The eastern arm is externally decorated with Lombard bands , while the apse has lost the original cover with limestone from Bonaria. The arm has a nave and two aisles, the former with barrel vault , the latter with cross vaults . Wikimedia Commons has media related to San Saturnino (Cagliari) . Sources [ edit ] Coroneo, Roberto (1993). Architettura Romanica dalla metà del Mille al primo '300 . Nuoro: Ilisso. ISBN 88-85098-24-X . External links [ edit ] "Basilica of San Saturnino" . Sardegna Virtual Archaeology . Retrieved 2021-08-28 . "Basilica di San Saturnino" . SardegnaTurismo . 2015-11-20 . Retrieved 2021-08-28 . Authority control databases International VIAF National Germany United States 39°12′50″N 9°07′24″E / 39.213889°N 9.123333°E / 39.213889; 9.123333
|
|
1,120
|
4.97°W
|
51.803°N
|
Haverfordwest Castle
|
https://en.wikipedia.org/wiki/Haverfordwest_Castle
| 3,321
|
United Kingdom
|
For the electoral ward covering central Haverfordwest, see Haverfordwest Castle (electoral ward) . Haverfordwest Castle Part of Pembrokeshire Haverfordwest , Wales UK grid reference SM953157 Haverfordwest Castle Coordinates 51°48′11″N 4°58′12″W / 51.803°N 4.97°W / 51.803; -4.97 Type Castle Site information Controlled by Pembrokeshire Coast National Park Authority Open to the public Yes Condition Partially restored Site history Built 1120 1290 Early 1380s Built by Gilbert de Clare , earl of Pembroke Queen Eleanor of Castile In use Until mid 18th century Materials Mortar Timber Haverfordwest Castle ( Welsh : Castell Hwlffordd ) is a castle located in the town centre at Haverfordwest , Pembrokeshire , south Wales , in a naturally defensive position at the end of a strong, isolated ridge. The castle was established during Norman times in 1120 but much of the architecture remaining today dates from 1290. For centuries the castle was an English stronghold. There are several other notable castles in area: Wiston Castle lies 6 miles (10 km) to the northeast and Pembroke Castle lies 12 miles (19 km) to the south. History [ edit ] Iron Age hill fort [ edit ] Pembrokeshire records indicate that there was an Iron Age hill fort on the site of the castle, although there is no physical evidence to suggest this at the present location. [ 1 ] Haverfordwest is believed to have been a Danish settlement prior to the Norman conquest of West Wales in 1093–94. [ 1 ] The Flemish settled in the area in 1108 to protect the main Norman stronghold at Pembroke Castle from Welsh raiders from the north. [ 1 ] Haverfordwest Castle, painted in 1794 Construction of the Norman fortress [ edit ] The vast majority of sources indicate that the structure was originally a Norman stone keep and bailey fortress, founded by the Englishman Gilbert de Clare , Marcher Earl of Pembroke in 1120. While this date is generally consistent, some indicate 1110 or 1113, [ 2 ] Pembrokeshire records [ clarification needed ] [ who exactly insists? ] insist that the castle was actually originally built by Tancred the Fleming, husband of Gwladus (the aunt of Gerald of Wales ), [ 3 ] so the original medieval town and castle would have been Flemish not Norman. [ 1 ] In any case, Gilbert de Clare appointed Tancred's son, Richard fitz-Tancred, as castellan . [ 4 ] Visit by Henry II [ edit ] The original castle is believed to have been first attacked (unsuccessfully) by Gruffydd ap Rhys , Prince of Deheubarth, in 1135–36. In 1173 the castle had its first royal visit by Henry II of England , who passed by the town on coming back from a trip to Ireland . In 1188 Gerald of Wales mentions visiting the castle with Archbishop Baldwin during his progress around Wales preaching for the Third Crusade that Richard I of England the Lion Heart led to the Holy Land . [ 1 ] [ 5 ] A 13th-century depiction of Llywelyn the Great (left) who threatened the castle and burned the town of Haverfordwest in 1220, but failed to capture the castle. Garrisoned by William Marshal [ edit ] By 1200, many of the original timber buildings had been replaced with the first stone buildings, including a rectangular north eastern tower to serve as the castle's keep. [ 1 ] At the same time, Robert fitz-Richard, son of Richard fitz-Tancred, had established Haverfordwest Priory , to which he retired in 1210. [ 4 ] That year, King John passed Haverford in order to sail to Ireland, so as to crush a rebellion by the Normans there. In 1213 the King persuaded William Marshal , who had inherited the surrounding Marcher Earldom of Pembroke (in jure uxoris ), to garrison the castle in return for an exorbitant sum of money; William Marshal was already extremely wealthy. William Marshal was responsible for replacing most of the original timber walls, towers and gatehouse with stone in the 1210s, and already by 1220 little remained of the original castle. [ 1 ] Today all that remains of the 1120 establishment is a large square keep in the north-east corner of the inner ward. [ 5 ] This mass reconstruction to strengthen the castle was likely due to the persistent attacks during this period. In 1217, Llywelyn Fawr ( Llywelyn the Great ), Prince of Wales threatened William Marshal, and in 1220 he burned the town but failed to take the castle. [ 5 ] The town was rebuilt greater than before, and developed quickly in the 13th century as a commercial centre due to its position at the centre of Pembrokeshire and its naval links. [ 1 ] In 1248, Humphrey II de Bohun acquired the castle and resisted an attack in 1257 by Llywelyn ap Gruffudd , Prince of Gwynedd (Llywelyn the Last). [ 1 ] In 1265, the castle was taken by William de Valence , Earl of Pembroke, during the Second Barons' War , but in 1274 royalty intervened and granted it back to the de Bohun family, to the next generation, Humphrey III de Bohun . [ 1 ] Owned and reconstructed by Eleanor of Castile [ edit ] In 1284 King Edward I and Queen Eleanor of Castile visited the castle for the first time during a royal pilgrimage to St Davids. Eleanor was said to be in love with the castle. Four years later she borrowed a huge amount of money in those times to purchase the castle from the de Bohun family, and loaned the large sum of £407 to fully rebuild the castle and complete its transition into stone. [ 1 ] There was a massive scale reconstruction; this was completed a year later in 1290, shortly before she died, although it was long known as the "Queen's Castle at Haverford". [ 5 ] Today much of what remains is dated to Queen Eleanor's 1290 version, including the extensive curtain wall. [ 5 ] The castle remained in royal possession after Eleanor's death, and it was granted out to various wealthy tenants. [ 1 ] 14th-century restoration [ edit ] In the 14th century, the castle was occupied by many owners; amongst them was Edward, the Black Prince , from 1359 to 1367. The castle was owned by the Crown from 1381 to 1385, who paid for restoration works of the castle. These works proved important later, as in 1405 the castle was strong enough to fend off an attack during Owain Glyndŵr 's War of Welsh independence . [ 5 ] The town walls around the high ground near the castle also did much to protect the castle from invaders, although nothing remains of these town walls today. Over the centuries the castle was visited by numerous nobles and monarchs such as King Richard II and Oliver Cromwell . [ 6 ] Haverfordwest Castle Oliver Cromwell who sent letters to the castle in 1648 ordering it to be demolished. Royalist stronghold [ edit ] By the 16th century, however, the castle had become dilapidated and subsequently was re-fortified during the English Civil War . In 1644 Haverfordwest Castle is documented as being occupied by the Royalists , but they abandoned it on misinterpreting the noises of cows for a Parliamentary army. It was recaptured and held for the king for a year, who finally surrendered after the Battle of Colby Moor nearby. [ 5 ] Oliver Cromwell sent letters to the castle, ordering it to be destroyed in July 1648 and threatened to imprison the townsfolk unless it was demolished. [ 6 ] [ 7 ] These letters were only unearthed in 1986 and are currently on display in the town museum. [ 6 ] Prison [ edit ] The derelict medieval castle was converted to a prison in 1779, although Gerald of Wales records that part of the castle was used as a prison as early as 1188. [ 6 ] In 1820 a new prison building was erected within the castle grounds, mainly within the inner bailey. It had a capacity for 86 prisoners. In 1878 the remaining inmates were transferred to the gaol in Carmarthen . [ 8 ] The building has subsequently been used as a police station and council offices. [ 8 ] Today it houses the town museum. [ 6 ] A cell door, leg irons, the original lock from the castle gate and numerous artifacts are on display. Today the castle is operated by the Pembrokeshire Coast National Park Authority and is open to the public. In 2010 there were plans to put the prison building on the market, with new council offices being built in the Prendergast area of Haverfordwest. [ 8 ] In January 2008 an extensive archaeological excavation was conducted at Haverfordwest Castle. [ 6 ] Architecture [ edit ] The curtain wall The original entrance to the castle lay on the west side, guarded by a gatehouse; but no trace of this survives. There are round towers at the north-west and south-west corners, and at the south-east corner there is a square tower with an additional projecting turret. The south-west and south-east towers have three storeys, with the south-east tower possessing a basement and postern gate which could be used in a counter-attack during a siege. [ 5 ] A large hall lies in the south of the castle with great, high windows and scaling ladders. Little remains of the original medieval defences in the outer ward of the castle, although the extensive curtain wall has been maintained and still remains, along with a considerable part of the north side, including a semicircular turret and a square tower to the east. [ 5 ] References [ edit ]
|
|
1,120
|
36.0830°E
|
35.0407°N
|
Al-Kahf Castle
|
https://en.wikipedia.org/wiki/Al-Kahf_Castle
| 6,977
|
Syria
|
Al-Kahf Castle قلعة الكهف Al-Ansariyah mountains , Syria Al-Kahf Castle قلعة الكهف Coordinates 35°02′27″N 36°04′59″E / 35.0407°N 36.0830°E / 35.0407; 36.0830 Type Castle Site information Owner Directorate General of Antiquities and Museums (DGAM) Controlled by Saif al-Mulk ibn Amrun (1120–1138) Nizaris (Assassins) (1138–1273) Mamluk Sultanate (1273–1516) Ottoman Empire (1516–1918) Open to the public Yes Condition Partially ruined Site history Built 1120 Built by Saif al-Mulk ibn Amrun In use Until 19th century Materials Limestone Demolished 1816 Al-Kahf Castle or the Castle of the Cave ( Arabic : قلعة الكهف , romanized : Qalʻat al-Kahf ) is a medieval Nizari Isma'ili castle located around 30 kilometres (19 mi) southeast of Margat , in the al-Ansariyah mountains in northwest Syria . [ 1 ] History [ edit ] The castle was built around 1120 by Saif al-Mulk ibn Amrun, [ 2 ] and was sold to the Isma'ilis 1138 by his son Musa. [ 1 ] It served as the base of the Chief Da'i of Syria Abu Muhammad. [ 3 ] Rashid ad-Din Sinan , the Arab leader of the Isma'ili sect in Syria, used this castle initially as his base and hermitage . [ 4 ] Sinan eventually died and was buried there in 1193. [ 4 ] In 1197 the Regent of Jerusalem , Henry II, Count of Champagne , visited the castle to secure an alliance with Sinan's successor. [ 5 ] [ 6 ] The castle was the last Isma'ili stronghold in Syria to surrender to the Mamluks . [ 7 ] Sultan Baibars finally captured it in 1273, and it remained in use until Ottoman times , when it served at times as a prison for important personages. [ 1 ] [ 8 ] [ 9 ] The castle was finally destroyed in 1816 by Mustafa Agha Barbar , the Ottoman governor of Tripoli . [ 5 ] [ 6 ] Overview [ edit ] The castle sits on a ridge between two gorges. [ 1 ] The only entrance to the castle runs along a narrow path halfway down the steep northern slope. The general direction of the castle is east–west, running along the spur of rock on which it was built. The castle is divided into three, or possibly four, main sections. At the west end lies a 170 metres (560 ft) long flat section. The section is clear of any buildings, except the outer walls and a bastion at the end. From the outer bailey the ground rises up towards the central citadel and fortifications. These buildings probably contained living quarters, storerooms and the water storage area with seven cisterns . [ 8 ] [ 9 ] References [ edit ]
|
|
1,123
|
0.84861°E
|
42.51750°N
|
Sant Climent, Taüll
|
https://en.wikipedia.org/wiki/Sant_Climent,_Ta%C3%BCll
| 4,093
|
Spain
|
Saint Clement of Taüll Sant Climent de Taüll Sant Climent de Taüll Religion Affiliation Roman Catholic Ecclesiastical or organizational status Parish church Location Location Taüll , Catalonia , Spain Geographic coordinates 42°31′03″N 0°50′55″E / 42.51750°N 0.84861°E / 42.51750; 0.84861 Architecture Type Church Style Romanesque UNESCO World Heritage Site Official name: Catalan Romanesque Churches of the Vall de Boí Type Cultural Criteria ii, iv Designated 2000 (24th session ) Reference no. 988 Region Europe and North America Sant Climent de Taüll ( Catalan pronunciation: [ˈsaŋ kliˈmɛn də təˈuʎ] ), also known as the Church of St. Clement of Tahull, is a Roman Catholic church in Catalonia , Spain . It is an example of Romanesque architecture . Other influences include the Lombard and Byzantine styles, which can be seen throughout the exterior and interior of the building. The church is a basilica plan structure with three naves , each of them with a terminal apse , and large columns separating the side naves. Connecting to the church is a slim bell tower that has six floors plus a base. The artwork inside the church include the famous mural paintings by the Master of Taüll (contained in the different apses and the keys of the arches), as well as the wooden altar frontal . These works of art represent different aspects of Christianity that can also be found in many other works of art. The most famous fresco , of Christ in Majesty in the main apse of the church , has been moved to the Museu Nacional d'Art de Catalunya in Barcelona . [ 1 ] Historical context [ edit ] Sant Climent de Taüll is located in Taüll in the municipality of Valley of Boí , in the province of Lleida , Catalonia, Spain. The exact date of construction is unknown; the church was consecrated on December 10, 1123. [ 2 ] In 1064, before Sant Climent de Taüll was constructed, it was an object of sale and exchange by several different counts, including the Counts of Pallars Sovereign (I Artau and his wife Lucia), the Counts of Pallars Jussà (Ramon IV and his wife Valença), as well as tle Erill and other possessions. Sant Climent de Taüll was devoted to and consecrated by Guillem Ramon, Bishop of Roda-Barbastro. One day later Guillem Ramon also consecrated Santa Maria de Taüll, another Romanesque church located near Sant Climent de Taüll. Sant Climent de Taüll is a Romanesque-style church greatly influenced by the Lombard style, which can be seen through its exterior decoration. The bell tower is an example of Byzantine influence, because it stands out for its verticality. The church was intended as a place for Christian worship, unlike other churches of the time, which were intended as a pilgrimage . The artwork in Sant Climent de Taüll was important in bringing the art into the public atmosphere. The main work of art is the mural painting, located on the central apse of the church. The identity of the painter is unknown, but is referred to as Master Taüll. The altar-frontal was created by a native Catalan artist, possibly in a workshop in La Seo de Urgel. [ 3 ] Technical analysis [ edit ] Side view of Sant Climent, Taüll Sant Climent de Taüll is the largest, most well preserved, and has the most outstanding architecture out of all the churches in the Valley of Boí. The church is a basilica plan structure, that has three naves (each of them with a terminal apse), and large columns separating the side naves. One of the doorways opens on the west side of the building, with the remains of what might have been a porch. [ 4 ] The other openings are located on the south side and on the access tower. The facades of the church do not have any decoration, but the apses have simple Lombard decorations and are built with stone and brick. The central apse on the exterior is decorated by groups of four arches, separated by half columns. The apsidioles (apses on either side of the central apse), have groups of three arches instead of four, with each of the apses having one window each. [ 5 ] [ better source needed ] In addition, the central apse has three arched windows located on ground level and two portholes on either side of the central apse. In the south corner of the church there is a tall, slim bell tower that has a square plan with a prism-shaped roof. The tower has seven floors (base floor plus six), where the base is the foundation of the entire structure. As we ascend through the bell tower, the structure becomes lighter in weight because of the larger windows near the top of the tower. On each level there are the same number of windows on the four sides of the tower, and there are five arcs in the space around the windows. Inside Sant Climent de Taüll three naves are separated by three cylindrical columns. The columns are made of amalgamated stone, which support the arcades, and the roof of the church has wooden beams. The first column on the north side of the church near the apse was found to have the inscription of the consecration of the church. This document is painted with white letters on red and black background and is now preserved in the National Museum of Catalan Art. The interior of the church (the walls of the naves, apses and columns) were originally covered with polychrome decoration. In the early twentieth century, the National Art Museum of Catalonia in Barcelona took the mural paintings inside the church to protect and preserve them. An exact replica of the mural painting on the central apse was made in place of the original. However, the original mural painting on the northern apse can only be seen in the National Art Museum of Catalonia. [ 6 ] The removal of the mural paintings was done by applying horsehide glue . The hardened glue was then peeled off, carrying the pigments of the mural with it. Mural painting is an art that is painted and applied to the wall, ceiling or other permanent surfaces that are sufficient in size. The technique used is called fresco, where the paint is applied on plaster on walls and/or ceilings. The pigment is mixed with water on a small layer of wet lime mortar or plaster, where it is later absorbed. After several hours, the plaster dries while reacting with the air. This creates a chemical reaction making the pigment stick to the plaster. Over a long period of time, the painting will end up with brilliant colors. One of the main mural paintings is four meters in diameter located on the central apse. There are several holes, due to excess moisture, on the original mural painting on the central apse that have not been restored. A polychrome wood carving and other objects are also located inside the church, some of which were successfully restored. [ 7 ] Sant Climent de Taüll had the earliest wooden altar-frontal, which was 1.36 m × 0.98 m in size. When it reached Barcelona it was covered with a coat of paint which was removed. An inscription on the center of the upper frame shows that in 1579 the altar-frontal was repainted. The wooden altar frontal is enclosed by a narrow wooden frame, which is held together at the four corners with wooden dowels . The figures were each carved separately, and then were attached to the back of the panel using wooden dowels. The four side divisions contain a blind arcade of three arches, where there are figures located directly underneath. The arches are formed from tall capitals , which are supported by slim colonnettes with torus molding, as well as a high base. The upper right corner is slightly damaged, though some of the original colour can be seen on the lower left corner of the antependium. The frame was painted green and yellow, and there are indications that the frame originally had some stucco ornament. The wooden altar frontal used to have four symbols of the evangelists that had filled the outside of the mandorla , but these have been lost. [ 3 ] Formal and stylistic analysis [ edit ] Church plan Sant Climent de Taüll is a form of Romanesque architecture and contains Romanesque artwork. Romanesque architecture is classified by its semi-circular arches on the buildings. It is also best recognized by its massive size, thick walls, round arches, sturdy piers, groin vaults , large towers and decorative arcading. During the time of Romanesque architecture, many more churches were built than castles. The architecture is often a symmetrical plan, and the exterior of the building is very simplistic with clear forms. The building material for the exterior varies in different structures, although brick is generally used. The arches, doors, windows, vaults and arcades used during this time are almost always semicircular. Mural decorations were a form of art used during the Romanesque period . The paintings were placed on large wall surfaces and on plain, curving vaults. Often it is seen in a mosaic , where the focal point is the semi-dome of the apse with Christ the majesty in the centre. This is very characteristic of the mural painting located on the central apse in Sant Climent de Taüll. The mural painting of the figure of Christ wears a greyish, white robe with a blue mantle. The volumes in the folds of the robe reflect some movement and realism in the image. Christ is located within a mandorla that has a blue background with a blue and red frame, decorated with pearls and circles. The figure of Christ goes beyond the frame of the mandorla, and his feet are resting on a hemisphere. His face is in a perfect axial symmetry which is framed by long hair. The mandorla is placed on a background of three horizontal parallel bands in the colours blue, ocher and black. Located underneath the mandorla is a black band with white writing. On each side of the centre window (below the black band) are three arches resting on columns of capitals in green, red and black. In between the figures of the Virgin Mary and five saints are columns with wavy line patterns going vertically. These figures lie on top of a background of three horizontal bands in the colours red, blue and green. The faces of the figures in the bottom half of the mural painting is similar to Christ in the mandorla, except they wear different coloured robes. Sant Climent de Taüll has a basilica plan structure, which is similar to early Christian architecture such as the Roman basilica of Leptis Magna and the Basilica of Old St. Peter. Similar to early Christian architecture, Sant Climent de Taüll has a central nave and an apse. The difference is that Sant Climent de Taüll has three naves and three apses, and a bell tower, whereas early Christian architecture has side aisles, transepts , a narthex and an atrium. In addition, the Santa Maria Maggiore , a basilica in Rome, has a clerestory , whereas the Sant Climent de Taüll is the opposite because it has very few windows. [ 8 ] The mural paintings in Sant Climent de Taüll have elements similar to early Christian paintings. In the central apse of the church, there is a figure of a Pantocrator (Christ in Majesty) surrounded by a mandorla. The Pantocrator can also be seen in the Golden Age of Byzantium, specifically in Hagia Sophia in Constantinople . It can also be seen in the Court School of Charlemagne during the Carolingian Renaissance . [ 9 ] The Alpha, Omega and the halo around Christ's head can be seen in both the Romanesque and Byzantium age and in the Catacomb of Comodilla. [ 10 ] Iconographical analysis [ edit ] Pantocrator by the Master of Taüll Sant Climent de Taüll has many mural paintings; however, the main and most famous mural painting is located at the central apse and is of Christ in Majesty within a mandorla . This has now been moved to Barcelona and replaced by a replica. In the lower part of the second triumphal arch appears a figure of the Agnus Dei contained in a circle with a blue background. The Agnus Dei is a mystic lamb that is presented as having seven eyes and holding a book. On the left side of the same arc, there are scenes of Lazarus , who expresses grief while a dog licks his wounds at the door of a rich man. On the front, left side of the triumphal arch, there is an image of an unknown character holding a helmet. The vertical walls directly under the triumphal arches preceding the apse have an image of saints. Only a few saints, Peter , Clement , and Cornelius , can be identified. In the triumphal arch on the right side, there is a scene of a man with an ax hitting the head of another person. On the northern side of the apse there is a mural painting of six angels. In front of the apse, there is an image of what appears to be a dog on top of the remains of a frame. Under the dog there is a possible image of some type of bird, though it is hard to make out the exact image. The church has a wooden altar frontal, which is similar to the mural painting in the central apse, because it consists of Christ in a mandorla surrounded by the four tetramorphs . The figure of Christ wears a crown and is seated on a throne with a foot rest. The side compartments are divided into upper and lower registers, each with three figures. There are twelve figures in total on the upper and lower register on either side on Christ, which represents the twelve apostles . In the bottom right register there is a figure of Judas who is hanged. The image of the dead figure with a devil eating his vitals is a symbol of remorse. [ 3 ] Gallery [ edit ] Night view of bell-tower, Sant Climent, Taüll Christ Pantocrator, Sant Climent, Taüll Inside view, North Apse, Sant Climent, Taüll Small window in Apse, Sant Climent, Taüll Apse, Sant Climent, Taüll See also [ edit ] First Romanesque References [ edit ]
|
|
1,124
|
2.09639°E
|
48.89806°N
|
Château de Saint-Germain-en-Laye
|
https://en.wikipedia.org/wiki/Ch%C3%A2teau_de_Saint-Germain-en-Laye
| 71,255
|
France
|
Former royal palace in Saint-Germain-en-Laye, France Château de Saint-Germain-en-Laye General information Location Saint-Germain-en-Laye , France Construction started 1124 ; 901 years ago ( 1124 ) Design and construction Architect(s) Pierre Chambiges The Château de Saint-Germain-en-Laye ( French pronunciation: [ʃɑto d(ə) sɛ̃ ʒɛʁmɛ̃ ɑ̃ lɛ] ) is a former royal palace in the commune of Saint-Germain-en-Laye , in the department of Yvelines , about 19 km west of Paris , France. Today, it houses the Musée d'Archéologie nationale (National Museum of Archaeology). History [ edit ] 12th–13th centuries [ edit ] Sainte-Chapelle The first castle , named the Grand Châtelet , was built on the site by Louis VI in 1124. The castle was expanded by King Saint Louis IX in the 1230s. The Saint Louis chapel at the castle belongs to the Rayonnant phase of French Gothic architecture . A 1238 charter of Louis IX instituting a regular religious service at the chapel is the first mention of a chapel having been built at the royal castle. This was a Sainte Chapelle , to house a relic of the Crown of Thorns or the True Cross . Its plan and architecture prefigure the major Sainte-Chapelle which Saint Louis built within the Palais de la Cité at Paris between 1240 and 1248. Both buildings were built by Louis's favourite architect Pierre de Montreuil , who adapted the architectural formulae invented at Saint Germain for use in Paris. A single nave ends in a chevet , with almost all the wall areas filled by tall narrow glass windows, between which are large exterior buttresses . The ogives of the vault rest on columns between the bays and the column bases are placed behind a low isolated arcade. The building can thus be open and empty of all internal supports. This large number of windows is also enabled by the pierre armée technique, with metal elements built into the structure of the walls to ensure the stones' stability. The west wall is adorned by a large Gothic rose window in the Rayonnant Gothic style. It was in this chapel in 1238 that Baldwin II of Constantinople presented Louis with the relic of the crown of thorns and, though they were intended for the Sainte-Chapelle in Paris, they were housed here until the Paris chapel was consecrated in April 1248. The castle was burned by Edward the Black Prince in 1346; of it, only the Gothic chapel remains from the site's medieval phase. This Château Vieux was rebuilt by Charles V in the 1360s on the old foundations. 16th–18th centuries [ edit ] Château-Neuf de Saint-Germain-en-Laye , a new addition to the palace that was later demolished The oldest parts of the current château were reconstructed by Francis I in 1539, and have subsequently been expanded several times. On 10 July 1547 a political rivalry came to a head in a legal duel here. Against the odds, Guy I de Chabot , 7th baron de Jarnac triumphed over François de Vivonne , seigneur de la Chasteigneraie, who died the next day after what was called "coup de Jarnac". [ 1 ] In September 1548, rooms above the royal suite were refurbished for Mary, Queen of Scots and the children of Henry II of France . [ 2 ] Staircase tower in the corner of the court Henry II built a separate new château nearby, to designs by Philibert de l'Orme . It stood at the crest of a slope, which was shaped, under the direction of Étienne du Pérac [ 3 ] into three massive descending terraces and narrower subsidiary mediating terraces, which were linked by divided symmetrical stairs and ramps and extended a single axis that finished at the edge of the Seine ; the design took many cues from the Villa Lante at Bagnaia . [ 4 ] "Étienne du Pérac had spent a long time in Italy, and one manifestation of his interest in gardens of this type is his well-known view of the Villa d'Este , engraved in 1573." [ 5 ] The gardens laid out at Saint-Germain-en-Laye were among a half-dozen gardens introducing the Italian garden style to France that laid the groundwork for the French formal garden . Unlike the parterres that were laid out in casual relation to existing châteaux, often on difficult sites originally selected for defensive reasons, [ 6 ] these new gardens extended the central axis of a symmetrical building façade in rigorously symmetrical axial designs of patterned parterres, gravel walks, fountains and basins, and formally planted bosquets ; they began the tradition that reached its apex after 1650 in the gardens of André Le Nôtre . [ 7 ] According to Claude Mollet 's Théâtre des plans et jardinage [ 8 ] the parterres were laid out in 1595 for Henry IV by Claude Mollet , trained at Anet and the progenitor of a dynasty of royal gardeners. One of the parterre designs by Mollet at Saint-Germain-en-Laye was illustrated in Olivier de Serres ' Le théâtre d'agriculture et mesnage des champs (1600), but the Château Neuf and the whole of its spectacular series of terraces can be fully seen in an engraving after Alexandre Francini , 1614. [ 9 ] Silvestre's view of the uppermost terrace of the Château Neuf, shows (with artistic license) its neglected state. Louis XIV was born at the Château Neuf in 1638. One of du Pérac's retaining walls collapsed in 1660, and Louis undertook a renovation of the gardens in 1662. At his majority he established his court here in 1666, but he preferred the Château Vieux : the Château Neuf was abandoned in the 1660s and demolished. From 1663 until 1682, when the King removed definitively to Versailles , the team that he inherited from the unfortunate Nicolas Fouquet — Louis Le Vau , Jules Hardouin-Mansart and André Le Nôtre laboured to give the ancient pile a more suitable aspect. The gardens were remade by André Le Nôtre from 1669 to 1673, and include a 2.4 kilometre long stone terrace which provides a view over the valley of the Seine and, in the distance, Paris. The Château is at the centre of the town of Saint-Germain-en-Laye , close by its RER A railway station . Louis XIV turned the château over to King James II of England after his exile from Britain in the Glorious Revolution of 1688. King James lived in the château for thirteen years, and his daughter Louise-Marie Stuart was born in exile here in 1692. King James lies buried in the nearby Church of Saint-Germain ; his wife Mary of Modena remained at the château until her death in 1718. Their son James left the château in 1716, ultimately settling in Rome. Many Jacobites —supporters of the exiled Stuarts—remained at the château until the French Revolution , leaving in 1793. The Jacobites often consisted of former members of the Jacobite court, and the apartments left empty in the château by the Jacobite court pensioners upon their death, were often passed down to their widows and children by the caretaker of the château, Adrien Maurice de Noailles, 3rd Duke of Noailles . [ 10 ] The Jacobite colony at Saint-Germain was still dominant in the 1750s, when they were however treated with increasing hostility. After the death of the Duke of Noailles in 1766, who had been responsible for the continuing Jacobite dominance because of his preference to give rooms to Jacobites, the British dominance quickly decreased and more French inhabitants were given lodgings in the château: the last member of the Stuart court was Theresa O'Connel, who died in 1778. [ 10 ] The last descendants of the British Jacobites, by then mostly bearing French names, were evicted when the building was confiscated by the government during the French revolution in 1793. [ 10 ] 19th–21st centuries [ edit ] In the 19th century, Napoleon I established his cavalry officers' training school here. Napoleon III initiated restoration of the castle by Eugène Millet , starting in 1862. It became the Musée des Antiquités Nationales (National Museum of Antiquities) in 1867, displaying the archeological objects of France. [ citation needed ] Auguste Lafollye took over responsibility for the restoration on Millet's death in 1879, continuing until 1889. His goal, and that of his successor Honoré Daumet , was to restore the French Renaissance style of Francis I . [ 11 ] On September 10, 1919 the Treaty of Saint-Germain-en-Laye , ending hostilities between the Allies of World War I and Austria , was signed at the château. [ 12 ] During the German occupation (1940–44) , the château served as the headquarters of the German Army in France. The museum was renamed the Musée d'Archéologie Nationale in 2005. [ 13 ] Its collections include finds from Paleolithic to Merovingian times. Gallery [ edit ] The palace as seen from the gardens Angle view of the palace Details of the palace's façade The entrance of the palace The entrance of the museum The inner courtyard One of the staircases The inner ceilings Notes [ edit ]
|
|
1,125
|
94.86528°E
|
21.16500°N
|
Lokahteikpan Temple
|
https://en.wikipedia.org/wiki/Lokahteikpan_Temple
| 271
|
Myanmar
|
Buddhist temple in Bagan, Myanmar Lokahteikpan Lokahteikpan is a Buddhist temple in Bagan , Burma , founded c. 1125. This temple is known for its frescos , which contain painted inscriptions that are among the oldest documents in the Old Burmese language. References [ edit ] U Ba Shin (1962). The Lokahteikpan. Rangoon: Burma Historical Commission, Ministry of Union Culture, Revolutionary Govt., Union of Burma. 21°09′54″N 94°51′55″E / 21.16500°N 94.86528°E / 21.16500; 94.86528 v t e Major Buddhist sites in Myanmar Shwedagon Pagoda Kachin State Kawmein Pagoda Hsutaungpye Pagoda Shwemyinzu Pagoda Theindawgyi Pagoda Kayin State Kyauk Ka Lat Pagoda Mount Zwegabin Sadda Cave U Nar Auk Monastery Mon State Alantaya Pagoda Kangyi Pagoda Kaylartha Pagoda Kyaikkhami Pagoda Kyaikhtisaung Pagoda Kyaiktiyo Pagoda Kyaikthanlan Pagoda Mahamuni Pagoda Uzina Pagoda Winzein Tawya Yadanabonmyint Monastery Zinkyaik Pagoda Rakhine State Mrauk U Andaw-thein Temple Htukkanthein Temple Htupayon Pagoda Koe-thaung Temple Le-myet-hna Temple Nyidaw Temple Pitakataik Ratanabon Temple Shite-thaung Temple Shwedaung Pagoda Sittwe Pyelonechantha Pagoda Shwezedi Monastery Shan State Bawgyo Pagoda Hpaung Daw U Pagoda Kangyi Monastery Maha Myat Muni Temple Pindaya Caves Shwe Indein Pagoda Shweyanpyay Monastery Wat Zom Khum Yadana Mantaung Pagoda Ayeyarwady Region Mawtinzun Pagoda Phaung Daw U Pagoda Shwemokhtaw Pagoda Bago Region Bawbawgyi Pagoda Beibeigyi Pagoda Kalyani Ordination Hall Kyaikpun Buddha Mahazedi Pagoda Myazigon Pagoda Payagyi Pagoda Rahanta Cave Shwemawdaw Pagoda Shwemyethman Pagoda Buddha Shwenattaung Pagoda Shwesandaw Pagoda (Pyay) Shwesandaw Pagoda (Taungoo) Shwethalyaung Buddha Magway Region Man Buddha Temple Myathalun Pagoda Pakhangyi Monastery Pakhannge Monastery Settawya Pagoda (Minbu) Thihoshin Pagoda Tantkyitaung Pagoda Yokesone Monastery Mandalay Region Amarapura Pahtodawgyi Bagaya Monastery Kyauksein Pagoda Kyauktawgyi Pagoda Mahagandhayon Monastery Nagayon Temple Shwekyetyet and Shwekyetkya Pagodas Bagan Alodawpyi Pagoda Ananda Temple Bupaya Pagoda Dhammayangyi Temple Dhammayazika Pagoda Gawdawpalin Temple Gubyaukgyi Temple (Myinkaba) Gubyaukgyi Temple (Wetkyi-in) Htilominlo Temple Lawkananda Pagoda Lokahteikpan Lemyethna Temple Mahabodhi Temple Manuha Temple Mingalazedi Pagoda Minochantha Stupas Myodaung Monastery Nagayon Temple (Bagan) Payathonzu Temple Pitakataik Seinnyet Nyima Pagaoda and Seinnyet Ama Pagoda Shwegugyi Temple Shwesandaw Pagoda Shwezigon Pagoda Sulamani Temple Taung Kalat Thatbyinnyu Temple Thandawgya Buddha Image Tuywindaung Pagoda Upali Ordination Hall Inwa Bagaya Monastery Htihlaing Shin Pagoda Lawka Tharahpu Pagoda Maha Aungmye Bonzan Monastery Yadana Hsimi Pagodas Mandalay Atumashi Monastery Buddha's Replica Tooth Relic Pagoda Eindawya Pagoda Htilin Monastery Kinwun Mingyi Monastery Kuthodaw Pagoda Kyauktawgyi Buddha Temple Kyaymyin Monastery Mahamuni Buddha Temple Maha Min Htin Monastery Mandalay Hill Masoyein Monastery Mogaung Monastery Myadaung Monastery Nagayon Pagoda Peik Chin Myaung Cave Pitakataik Pyay Mintha Monastery Salin Monastery Sandamuni Pagoda Setkyathiha Pagoda Shweinbin Monastery Shwekyimyint Pagoda Shwenandaw Monastery Taiktaw Monastery Tawagu Pagoda Thingaza Monastery Yaw Mingyi Monastery Kyaukse Shwethalyaung Pagoda Shwethalyaung Hill Maha Shwe Thein Daw Pagoda Tamote Shinpin Shwegugyi Temple Shinpin Set-Thwa Pagoda Shwemuhtaw Pagoda Lemyatnha Pagoda Shwe Taung Htee Pagoda Shwebontha Pagoda Shwehylan Taung Pagoda Dattaw Taung Cave Pagoda Nan Oo Pagoda, Myinsaing Wundwin Dattaw Pagoda Kyauk Sin Shwedagon Pagoda Myamyinzu Pagoda Myat Nyi Naung Pagoda Thein Taung Pagoda Sagaing Region Sagaing Aungmyelawka Pagoda Datpaungzu Pagoda Htupayon Pagoda Kaunghmudaw Pagoda Ngahtatgyi Pagoda Phowintaung Sinmya Shin Pagoda Thanboddhay Pagoda Sun U Ponnyashin Pagoda Umin Thonze Pagoda Mingun Hsinbyume Pagoda Mingun Bell Mingun Pahtodawgyi Pondaw Pagoda Settawya Pagoda Monywa Aung Sekkya Pagoda Maha Bodhi Tahtaung Laykyun Sekkya Phowintaung Thanboddhay Pagoda Shwebo Shwedaza Pagoda Mawdaw Myintha Pagoda Shein Makkar Monastery Tanintharyi Region Lawka Tharahpu Pagoda Shin Motthi Pagoda Theindawgyi Pagoda Paw Taw Mu Pagoda Yangon Region Alanpya Pagoda Aung Zabu Monastery Botataung Pagoda Chaukhtatgyi Buddha Temple Fushan Temple Guanyin Gumiao Temple Kaba Aye Pagoda Kohtatgyi Buddha Temple Kyaikkalo and Kyaikkalei Pagodas Kyaikkhauk Pagoda Kyauktawgyi Buddha Temple Mahasantisukha Buddha Sasana Center Maha Wizaya Pagoda Me Lamu Pagoda Ngahtatgyi Buddha Temple Shwesandaw Pagoda (Twante) Sule Pagoda Ye Le Pagoda Naypyidaw Maha Thetkya Yanthi Buddha Maravijaya Buddha Phaung Daw U Pagoda Thatta Thattaha Maha Bawdi Pagoda Uppatasanti Pagoda Myanmar portal Buddhism in Myanmar Kyaung (Monastery) Pagoda Authority control databases International VIAF National United States This article about a Buddhist place of worship is a stub . You can help Wikipedia by expanding it . v t e This article about a building or structure in Myanmar is a stub . You can help Wikipedia by expanding it . v t e
|
|
1,125
|
8.9330278°E
|
44.4082222°N
|
San Matteo (Genoa)
|
https://en.wikipedia.org/wiki/San_Matteo_(Genoa)
| 1,280
|
Italy
|
Roman Catholic church in Genoa, Liguria, Italy Church of Saint Matthew (Chiesa di San Matteo) The façade of the Basilica. Religion Affiliation Roman Catholic Province Genoa Ecclesiastical or organizational status National monument Status Active Location Location Genoa , Italy Geographic coordinates 44°24′29.60″N 8°55′58.90″E / 44.4082222°N 8.9330278°E / 44.4082222; 8.9330278 Architecture Type Church Style Gothic Completed 1125 San Matteo is a Roman Catholic church in Genoa , in the region of Liguria , Italy . History [ edit ] The church was founded in 1125 by Martino Doria, as the private chapel of his family . In 1278 it was totally renewed in Gothic style . The building was again renovated in the mid-16th century by order of Andrea Doria , who commissioned the work to Giovanni Angelo Montorsoli (changes included the presbytery and the dome). It was further renovated in 1557–1559, under design by Giovanni Battista Castello (nave and aisles) and decoration, realized by Luca Cambiaso among the others. Description [ edit ] Of the Gothic building, the nave, aisles and the façade are in white (marble) and black ( slate ) stripes, divided into three sectors by fake columns with Lombard bands ; in the center is a large rose window , while on the sides are two double mullioned windows . The façade includes a late Roman sarcophagus with an Allegory of the Autumn, which originally was used as the tomb of Lamba Doria , who had taken it to Genoa from Korčula in Dalmatia . At one time, large chains, which once had protected the harbor of Pisa and which had been obtained as booty after the victory at the Battle of Meloria (1284) , were draped across the facade. In the 19th century, they were returned to Pisa. [ 1 ] On the left side of the church is the cloister of St. Matthew, of quadrangular plan, dating to 1308. It has ogival arches on double small columns. Artworks of the interior include the Miracle of the Ethiopian Dragon by Luca Cambiaso and the Vocation of St. Matthew by Giovanni Battista Castello , a wooden "Deposition" by Anton Maria Maragliano , and the tomb of Andrea Doria, executed by Montorsoli, in the crypt. At the high altar is a Holy Family with St. Anne by Bernardo Castello (16th century). According to the tradition, the sword housed under the altar belonged to Andrea Doria , and was donated to this church by Pope Paul III . The church has an original organ, constructed by Antonio Alari in 1773. Notes [ edit ]
|
|
1,127
|
64.41417°E
|
39.77583°N
|
Kalyan Minaret
|
https://en.wikipedia.org/wiki/Kalyan_Minaret
| 14,805
|
Uzbekistan
|
Minaret in Bukhara, Uzbekistan Kalyan Minaret Uzbek : Minorai Kalon Persian : مناره کلان The Kalyan Minaret in 2003 Shown within Uzbekistan Alternative name Minâra-i Kalân, Kalon Minor, Poi-Kalyan Minaret [ 1 ] Location Bukhara , Uzbekistan Region Bukhara Region Coordinates 39°46′33″N 64°24′51″E / 39.77583°N 64.41417°E / 39.77583; 64.41417 Type Monument , Minaret Part of Po-i-Kalyan mosque complex Width Diameter 9 m bottom, 6 m top Height 45.6 m (150 ft), Tip 48 m History Builder Arslan Khan Muhammad, Kara-Khanid Khanate Material Bricks Founded 1127 AD Periods Western Karakhanid dynasty Cultures Islamic UNESCO World Heritage Site Official name Historic Centre of Bukhara Type Cultural Criteria (ii)(iv)(vi) Designated 1993 (29th session ) Reference no. 602 Bukhara region List of World Heritage Sites in Northern and Central Asia The Kalyan Minaret (Uzbek: Minorai Kalon, Persian/Tajik: Minâra-i Kalân, Kalon Minor, Kalon Minaret [ 2 ] ) is a minaret of the Po-i-Kalyan mosque complex in Bukhara , Uzbekistan and one of the most prominent landmarks in the city. The minaret, designed by Bako, was built on an earlier existing structure called Kalyan by the Qarakhanid ruler Mohammad Arslan Khan in 1127 to summon Muslims to prayer five times a day. An earlier tower was collapsed before starting this structure which was called Kalyan, meaning welfare, indicating a Buddhist or zoroasterian past. It is made in the form of a circular-pillar baked brick tower, narrowing upwards. It is 45.6 metres (150 feet) high (48 metres including the point), of 9 metres (30 feet) diameter at the bottom and 6 metres (20 feet) overhead. There is a brick spiral staircase that twists up inside around the pillar to the rotunda. The tower base has narrow ornamental strings belted across it made of bricks which are placed in both straight or diagonal fashion. [ 3 ] The frieze is covered with a blue glaze with inscriptions. In times of war, warriors used the minaret as a watchtower to lookout for enemies. [ 4 ] The minaret in 1909 About a hundred years after its construction, the tower so impressed Genghis Khan that he ordered it to be spared when all around was destroyed by his men. [ 5 ] It is also known as the Tower of Death, because until as recently as the early twentieth century criminals were executed by being thrown from the top. Fitzroy Maclean , who made a surreptitious visit to the city in 1938, says in his memoir Eastern Approaches , "For centuries before 1870, and again in the troubled years between 1917 and 1920, men were cast down to their death from the delicately ornamented gallery which crowns it." [ 6 ] History [ edit ] According to some historical sources, before the construction of the Kalyan Minaret in its place was another minaret, a smaller one, which later fell, and in its place it was decided to build the current one. [ 7 ] The minaret was built in 1127 (XII century), when Bukhara was part of the Karakhanid state . The initiator of the construction was the ruler from the Karakhanid dynasty - Arslan Khan Muhammad [ ru ] , who was known for his urban development. His name as the initiator of the construction is carved on one of the belts of the minaret. The architect of the minaret was the master of Bako [ ru ] , who was later buried 45 meters from the minaret itself. In the will of the architect it was said that the minaret, if it falls, fell on his head, and bequeathed him to bury it in the place indicated by him. According to legend, the master builder, who laid the foundation of the minaret from alabaster and camel milk, disappeared, but returned only two years later, when the foundation became durable, and proceeded to the brickwork. [ 7 ] At one time, the minaret performed several functions. It was simultaneously an observation tower, also had a religious function, in particular, it was used for adhan (calling Muslims for prayer ) to the Kalyan Mosque [ ru ] , which is located next to the minaret. It was also used to call the population in the nearest area to read decrees of rulers and other occasions. [ 7 ] In 1920, the minaret suffered damage by Soviet bombardment in the Bukhara operation . Damage during the Bukhara operation In 1924, a small part of the wall and the minaret's muqarnases were restored. In 1960, by the founding by Ochil Bobomurodov, the underground part of the minaret was repaired and reinforced, where the foundation and the foundation of the minaret are located. In 1997, to the 2500th anniversary of Bukhara, the minaret was thoroughly reconstructed and restored by the best masters. In subsequent years, the minaret also carried out small restoration works. [ 7 ] Description [ edit ] The Kalon Minaret is a powerful, tapering brick pillar that culminates in a cylindrical lantern rotunda with a stalactite crown. The lantern has sixteen open arches, above which there is also an ornamental stalactite cornice called "sharafa." The minaret is located at the southeastern corner of the Friday Mosque and is connected to its roof by an arched footbridge. [ 8 ] The height of the minaret's shaft is 46.5 meters. The circumference of the shaft at the base is 30.43 meters, and the corresponding diameter is 9.7 meters. In Central Asia , only the minaret of Kutlug-Timur in Kunya Urgench has a larger base diameter. [ 9 ] [ 10 ] The Bokhara minaret's shaft noticeably narrows towards the top, and just below the lantern , at around 32 meters from the base, its diameter is 6 meters.The minaret's round shaft is supported by a ten-sided pedestal, over 185 centimeters in height, constructed, like the entire minaret, from high-quality fired bricks (27x27x5 centimeters) with gypsum mortar. [ 11 ] Over time, the bricks and mortar fused into a monolithic mass, ensuring the rare preservation of the structure in this region. The underground part of the minaret consists of a brick foundation of unknown depth. The excavation, reaching a depth of 13 meters, did not reach its base. The lower parts of the foundation are laid on a clayey (loess) mortar, with gypsum and vegetable ash gradually added as it rises, reducing the clay content. [ 12 ] Consequently, there is no loess mortar in the minaret's pedestal. The perfectly regular masonry of the foundation is adorned with three belts of yellow limestone slabs. The decorative embellishments of the minaret consist of bricks and tiles that are very well-fired without glaze. The minaret's walls are adorned with various, not just geometric, patterns. Additionally, historical and religious Kufic texts are inscribed on the walls. [ 12 ] Gallery [ edit ] Part of the Poi-Kalyan ensemble: the minaret and the mosque Kalyan View on the Poi-Kalyan: minaret and Kalyan mosque, medrese Miri-Arab View of part of old Bukhara Exterior walls of the minaret Kalyan Minaret in 1913; photo by Wilhelm Harteveld Interior staircase Tower (Minora) in the city of Bukhara See also [ edit ] Wikimedia Commons has media related to Kalyan minaret . List of tallest structures built before the 20th century References [ edit ]
|
|
1,127
|
0.5014843°E
|
51.3899935°N
|
Rochester Castle
|
https://en.wikipedia.org/wiki/Rochester_Castle
| 57,080
|
United Kingdom
|
Well preserved 12th-century castle in Rochester, Kent, South East England Rochester Castle Rochester, Kent , South East England Rochester Castle - main approach Rochester Castle Coordinates 51°23′24″N 0°30′05″E / 51.3899935°N 0.5014843°E / 51.3899935; 0.5014843 Type Castle Height 113 feet (34 m) (the Keep) Site information Owner English Heritage managed by Medway Council Open to the public Yes Condition Ruinous Site history Built Construction started between 1087–1089 ( 1087–1089 ) Keep built around 1127 Materials Kentish Ragstone v t e First Barons' War 1215–1217 Dover Castle Windsor Castle Hertford Lincoln Rochester Sandwich Rochester Castle stands on the east bank of the River Medway in Rochester, Kent , South East England . The 12th-century keep or stone tower, which is the castle's most prominent feature, is one of the best preserved of its time in England or France. Situated on the River Medway and Watling Street , Rochester was a strategically important royal castle. During the late medieval period, it helped protect England's south-east coast from invasion. The first castle at Rochester was founded in the aftermath of the Norman Conquest . It was given to Bishop Odo , probably by his half-brother William the Conqueror . During the Rebellion of 1088 over the succession to the English throne, Odo supported Robert Curthose , the Conqueror's eldest son, against William Rufus . It was during this conflict that the castle first saw military action; the city and castle were besieged after Odo made Rochester a headquarters for the rebellion. After the garrison capitulated, this first castle was abandoned. Between 1087 and 1089, Rufus asked Gundulf , Bishop of Rochester , to build a new stone castle at Rochester. He established the current extent of the castle. Though much altered through the centuries, some parts of Gundulf's work survive. In 1127 King Henry I granted the castle to the Archbishop of Canterbury in perpetuity. William de Corbeil built the massive keep that still dominates the castle today. Throughout the 12th century the castle remained in the custody of the archbishops. During the First Barons' War (1215–1217) in King John's reign, baronial forces captured the castle from Archbishop Stephen Langton and held it against the king, who then besieged it. The Barnwell chronicler remarked "Our age has not known a siege so hard pressed nor so strongly resisted". After resisting for just over seven weeks, the garrison surrendered. The castle had been greatly damaged, with breaches in the outer walls and one corner of the keep collapsed, and hunger eventually forced the defenders' hand. The castle did not stay under John's control for long: in 1216 it was captured by the French Prince Louis , who was the new leader of the baronial faction. John died and was succeeded by his son King Henry III in 1216; the next year, the war ended and the castle was taken under direct royal control. Rochester was besieged for the third time in 1264 during the Second Barons' War (1264–1267). The castle's royal constable, Roger de Leybourne , held Rochester in support of Henry III . Rebel armies led by Simon de Montfort and Gilbert de Clare entered the city and set about trying to capture the castle. Again the castle's defenders resisted, this time with a different outcome. After a week, the rebel armies raised the siege in the face of relief from Henry himself. The garrison did not surrender, and the castle suffered extensive damage that was not repaired until the following century. The castle saw military action for the last time in 1381 when it was captured and ransacked during the Peasants' Revolt . As Rochester Castle fell out of use its materials were reused elsewhere and custodianship was relinquished by the Crown . The castle and its grounds were opened to the public in the 1870s as a park. At various points during the 19th and 20th centuries repairs were carried out. The castle is protected as a Grade I listed building and Scheduled Monument . Today the ruins are in the guardianship of English Heritage and open to the public. Early history [ edit ] Rochester Cathedral (centre) is visible adjoining the castle's ruined fortifications. Castles were introduced to England by the Normans in the 11th century and their construction, in the wake of the conquest of 1066 , helped the Normans secure their new territory. Rochester was an important city, built on the site of a Roman town at the junction of the River Medway and Watling Street , a Roman road. It has long been assumed that the first castle was located next to the river, just outside the south-west corner of the town walls. The conjectural site of the early castle later became known as "Boley Hill". [ 1 ] Archaeologist Tom McNeill has suggested that these earliest castles in England may have been purely military, built to contain a large number of troops in hostile territory. [ 2 ] According to the Domesday Book of 1086, the Bishop of Rochester was given land valued at 17s 4d in Aylesford , Kent, in compensation for land that became the site of Rochester Castle. Of the 48 castles mentioned in the survey, Rochester is the only one for which property owners were reimbursed when their land was taken to build the castle. [ 3 ] From the 11th century the castle-guard was a feudal obligation in England. This often took the form of knights garrisoning castles for their lords for a set period. There is no comprehensive list of which castles were owed service in this form, but military historian Cathcart King notes that they seem to have been predominantly high-status castles. [ 4 ] Rochester's castle-guard consisted of 60 knights' fees , marking it as a particularly important fortification. [ 5 ] Bishop Odo , here wielding a bishop's club in the Bayeux Tapestry , held Rochester as one of the headquarters of a revolt against King William Rufus in 1088. It was probably William the Conqueror who gave the city and its castle to Bishop Odo of Bayeux, the king's half-brother. On William's death in September 1087, his territories were divided between his two sons. Robert , the elder, inherited the title of Duke of Normandy and William Rufus became King of England. A significant number of Norman barons objected to dividing Normandy and England, and Bishop Odo supported Robert's claim to the English throne. Several others, including the earls of Northumberland and Shrewsbury and the Bishop of Coutances, came out in support of Robert. Odo prepared Rochester Castle for war and it became one of the headquarters of the rebellion . Its position in Kent made it a suitable base for raids on London and its garrison could harry William's forces in the county. William set off from London and marched towards Rochester to deal with the threat. Before he arrived, news reached the king that Odo had gone to Pevensey Castle , which was under the control of Robert, Count of Mortain . William turned away from Rochester and seized Pevensey. The captured Odo was forced to swear to hand over Rochester to William's men. The king despatched a force with Odo in tow to demand Rochester's surrender. Instead of yielding, the garrison sallied and captured the entire party. In response, William laid siege to the city and castle. Contemporary chronicler Orderic Vitalis recorded that the siege began in May 1088. Two siege-castles were built to cut off the city's supply lines and to protect the besiegers from sorties . Conditions within the city were dire: disease was rampant, exacerbated by the heat and flies. The garrison ultimately capitulated and terms were agreed. Odo, Eustace, Count of Boulogne, and Robert of Bellême , son of the Earl of Shrewsbury, were allowed to march away with their weapons and horses but their estates in England were confiscated. This marked the end of the castle's role in the rebellion, and the fortification was probably abandoned shortly afterward. [ 6 ] The siege castles were abandoned after the conclusion of the siege and have since vanished. [ 7 ] After the abandonment of Rochester's first castle, it was replaced by another on the current site, in the south-west corner of the town walls. Founded between 1087 and 1089, some parts of the castle survive, much altered by use and reuse in subsequent centuries. William the Conqueror had granted Lanfranc, Archbishop of Canterbury , the manor of Haddenham in Buckinghamshire – which as of the Domesday Survey had an annual income of £40 – for the duration of his life. In turn, the archbishop had granted the manor to Rochester's monks, so on the Conqueror's death Lanfranc and Gundulf , who was appointed Bishop of Rochester in 1077, had to appeal for reconfirmation of the original grant from the new king. William Rufus demanded £100 in exchange for confirmation of the grant. The two bishops felt such a sum was beyond their means and sought a compromise. Instead, it was agreed that Gundulf would build a new stone castle at Rochester. Initially, the two bishops were concerned that the cost would exceed the king's original request and that they would be responsible for the castle's upkeep. Henry, Earl of Warwick convinced them that a castle suitable for the king could be constructed for £40 and that following its completion the castle would be handed over to someone else. The actual cost to Gundulf was £60. [ 8 ] The bishop was a skilled architect and supervised the construction of the Tower of London 's eponymous White Tower on behalf of William the Conqueror. [ 9 ] Gundulf's castle was adjacent to Rochester Cathedral . According to archaeologist Oliver Creighton, when castles were positioned close to churches or cathedrals it suggested a link between the two, and in this case, both were owned by the Bishop of Rochester. Often the same craftsmen and architects would work on these closely related buildings, leading to similarities in some of their features. Along with Durham and Old Sarum , Rochester is one of the best examples of a closely linked castle and religious building. [ 10 ] This 19th-century reconstruction of medieval Rochester from E. A. Freeman's The Reign of William Rufus 1882 shows the city was surrounded by a wall. The castle founded by Gundulf was in the south-west corner. Construction started around 1127; it shows the great tower built by William de Corbeil. In 1127 King Henry I granted Rochester Castle to the Archbishop of Canterbury, William de Corbeil , and his successors in perpetuity. He was given permission to build "a fortification or tower within the castle and keep and hold it forever". Corbeil is responsible for building the great tower or keep that still stands today, albeit in an altered state. [ 11 ] The 12th century saw many castles in England rebuilt in stone, an advancement in sophistication of design and technology. Rochester had already been given a stone curtain wall by Bishop Gundulf, and the keep dates from this period. [ 12 ] It visually dominated the rest of the castle, towering above its outer walls, and acted as a residence containing the castle's best accommodation. A sturdy fortification, it could also serve as a stronghold in the event of military action. [ 11 ] Such was the importance of the keep as a symbol of Rochester it was depicted on the town's seal in the 13th century. [ 13 ] Construction progressed at a rate of about 10 feet (3.0 m) per year. It was probably finished before Corbeil died in 1138 and definitely before 1141, [ 14 ] when Robert, Earl of Gloucester , was imprisoned there during the Anarchy of King Stephen's reign. [ 15 ] It is likely that after the keep was built there was no further building activity in the 12th century, only maintenance. The castle was held by the Archbishops of Canterbury under the king, but the monarch was still responsible for financially supporting it. [ 11 ] Continuous records of royal expenditures known as " Pipe Rolls " began in the reign of Henry II , [ 16 ] and included in the rolls are details of expenditure on Rochester Castle's upkeep. During the 12th century, these were generally small figures, but in 1172–1173 more than £100 was spent on the castle, coinciding with the rebellion of Henry II's sons . [ 17 ] Following the fall of Normandy in 1204 to the French forces of King Philip II , King John increased his expenditure on the castles in south-east England in preparation for a possible invasion. [ 18 ] Amongst these was Rochester and in 1206 John spent £115 on the castle's ditches, keep, and other structures. [ 17 ] Under England's Angevin kings royal castles in south-east England were invested in to protect the country from invasion; Rochester was one of the most important. [ 19 ] King John [ edit ] Custody of Rochester Castle remained with the Archbishops of Canterbury until the end of the 12th century. Despite ascending to the throne in 1199 King John did not confirm Hubert Walter as the castle's custodian until July 1202. John may have wished to regain direct control of what was an important castle. [ 17 ] The crisis of John's rule began in 1212 with the discovery of a plot to overthrow him. [ 20 ] Defeat at the Battle of Bouvines in July 1214 marked the end of John's ambitions to retake Normandy and exacerbated the situation in England. He returned to England in October [ 21 ] and a few months later barons in the north of England rose against him. A group of barons renounced their feudal ties to John in May 1215 and captured London, Lincoln , and Exeter . [ 22 ] John persuaded Stephen Langton , the new Archbishop of Canterbury, to give control of Rochester Castle to a royal constable, Reginald de Cornhill . Under the terms of the agreement, the castle was to revert to the control of the archbishop at Easter 1215. This period was later extended to Easter 1216. Letters Patent dated 25 May 1215 requested that other royal constables would take over from Cornhill. The castle would still be returned to the archbishop when the agreement expired or if peace was restored to the kingdom before Easter 1216. In the meantime, control reverted to Langton whom John had asked to hold the castle "in such a way that by it no ill or harm shall come to us or our kingdom". [ 17 ] An early 13th-century drawing by Matthew Paris showing contemporary warfare, including the use of castles , crossbowmen and mounted knights Chroniclers record that in 1215 the rebels garrisoned Rochester Castle with between 95 and 140 knights, supported by bowmen and sergeants, amongst others. John met the rebel barons at Runnymede, and on 19 June 1215 they renewed their vows of fealty. [ 20 ] A peace treaty, which later became known as Magna Carta , was sealed. [ 23 ] Shortly after the treaty the agreement between John and Langton to appoint a royal constable in charge of Rochester Castle was dissolved, returning control to the archbishop. [ 17 ] The peace did not last and the First Barons' War broke out. A group of rebels headed to Rochester to hold the city against John. The events of the rebel takeover of the castle are unclear but the contemporary chronicler Ralph of Coggeshall recorded that the king demanded Langton hand over the castle to royal control and the archbishop refused. Langton held out against the king's demands but the rebels feared he would eventually succumb to pressure from the king and seized control of the castle. According to Ralph of Coggeshall, this was done with the consent of the castle's constable, Reginald de Cornhill, who seems to have switched allegiance from the king to the archbishop after John appointed him as royal constable of the castle. Langton left the country that same month, leaving the castle in the hands of the king's enemies. In a letter that year to justiciar Hubert de Burgh John expressed his frustration towards Langton, calling him "a notorious traitor to us, since he did not render our castle of Rochester to us in our so great need". After this point, Rochester Castle was no longer considered to be in the perpetual custody of the archbishops of Canterbury. [ 24 ] At the time, John was in south-east England recruiting mercenaries in preparation for his war with the barons. Rochester blocked the direct route to London, which was also held by the rebels. According to Roger of Wendover , the rebels at Rochester were led by William d'Aubigny , lord of Belvoir . Estimates of the size of Rochester's garrison vary, with the chroniclers' figures ranging from 95 to 140 knights, supported by crossbowmen, sergeants and others. Hearing the news that the city was in enemy hands, John immediately rode to Rochester and arrived on 13 October. Royal forces had arrived ahead of John and entered the city on 11 October, taking it by surprise and laying siege to the castle. Rochester bridge was pulled down to prevent the arrival of a relief force from London. The siege that followed was the largest in England up to that point and took nearly two months. [ 25 ] Boley Hill to the south of the castle may have been used as John's headquarters during the siege. According to the Barnwell chronicler , five siege engines hurled a barrage of stones at the castle's wall day and night. These were supported by missiles from smaller bows and crossbows. The Barnwell chronicler claimed they smashed a hole in the castle's outer walls; Roger of Wendover asserted they were ineffective and that John turned to other methods to breach the defences. A letter dated 14 October indicates John was preparing to undermine the castle's walls. He wrote to Canterbury, asking for the production "by day and night of as many picks as you are able" and that they be sent to Rochester. [ 26 ] On 26 October a relief force of 700 horse was sent from London. They turned back before arriving, perhaps because they heard the king was advancing to meet them. [ 27 ] When the castle's outer walls were breached, the defenders retreated to the relative safety of the keep. It too withstood the efforts of the siege engines and once again John turned to mining to bring down the walls. The mine was dug beneath the south-east corner of the keep. A letter sent from Rochester on 25 November offers insight into the methods of medieval siege craft. John ordered Hugh de Burgh to "send to us with all speed by day and night forty of the fattest pigs of the sort least good for eating to bring fire beneath the tower". The wooden props supporting the tunnel dug beneath the keep were set alight to collapse the mine, bringing down one corner of the keep. Still the garrison held out and sought safety behind the stone partition or cross-wall in the keep, abandoning half the building. The Barnwell chronicler remarked that "for such was the structure of the stronghold that a very strong wall separated the half that had fallen from the other". [ 27 ] Conditions within the keep worsened by the day and the garrison were reduced to eating horse flesh. To reduce the demand on limited provisions, some members were sent out of the keep, beginning with those least capable of fighting. Some sources record that they had their hands and feet amputated by the besiegers. On 30 November the garrison eventually surrendered and were taken captive. Initially John wanted to execute them all as was the custom of the time when a garrison had forced a long and bloody conflict. Savaric de Mauléon , one of John's captains, persuaded the king otherwise, concerned that similar treatment would be shown to royal garrisons by the rebels. Only one person was executed: a crossbowman who had previously been in the service of the king since childhood was hanged. Many of the rebels were imprisoned, sent to royal castles such as Corfe for safe-keeping. [ 28 ] Of the siege the Barnwell chronicler wrote, "Our age has not known a siege so hard pressed nor so strongly resisted ... Afterwards few cared to put their trust in castles". [ 29 ] Prince Louis of France , son of Philip II , was invited by the barons to become the new leader of the rebellion and become king in the event of their victory. In 1216 he arrived in England and captured Rochester Castle; it is not known how, as no documentary evidence recording the event survives. [ 30 ] Henry III [ edit ] The Round Tower (centre) was a replacement built by Henry III to repair the damage done to the keep by King John's mine. In contrast to the other two towers visible, it is cylindrical. John died in 1216 and was succeeded by his nine-year-old son, Henry, with the support of the barons. With no prospect of becoming King of England, Louis returned to France. Rochester Castle was returned to royal control in 1217. Given the damage incurred during John's siege, the castle was in dire need of repairs. Between 1217 and 1237 around £680 were spent on repairs, of which £530 were taken up by work on the keep. In 1225 and 1226 the town walls were enhanced by the addition of a ditch at the cost of £300. The new ditch enclosed Boley Hill, possibly to deny the position to future aggressors who might attack the castle. [ 30 ] Repairs began with the castle's outer curtain wall. At the same time a chapel was built within the castle. In 1226 the hall, buttery , and dispensary were repaired. Work probably did not begin on the keep until 1226. It was mostly repaired by 1227, but work continued on it until 1232. [ 31 ] During 1230 and 1231 a stone wall dividing the castle's enclosure into two parts was built which no longer survives. [ 32 ] While attention was paid to making the castle a working fortification, Henry III also funded construction of residential and other buildings. In 1244, £132 was spent on building a second chapel next to the royal apartments. Stables and an almonry were added in 1248. The main gatehouse was rebuilt between 1249 and 1250 at a cost of over £120. Further repairs were carried out on the keep in 1256, this time costing more than £120. Later in the decade further attention was paid to the castle's defences, possibly in response to Henry III's worsening relations with his barons. [ 31 ] During the 1264 siege the garrison retreated within the keep. Henry III's reign was in crisis in 1258. He had recently suffered defeat in Wales, there were agricultural problems leading to a famine, and relations with the pope were worsening. Discontent amongst England's magnates led Henry to promise reform, but under continued pressure his authority disintegrated. A royal council of fifteen magnates was formed in June that year, and the rule of the country transferred from the king to the council. With foreign help Henry's reign was restored in 1261 as the council were reluctant to start a civil war. Simon de Montfort , Earl of Leicester, raised a rebellion. In 1264 civil war broke out between those loyal to the king and the baronial forces led by de Montfort. [ 33 ] Rochester's constable in 1264, Roger de Leybourne , held the castle in support of Henry. [ 34 ] John de Warenne , Earl of Surrey, was the garrison's co-commander. [ 35 ] A baronial army led by Gilbert de Clare , Earl of Hertford, laid siege to the castle on 17 April that year. Having marched from the earl's castle to Tonbridge the army attacked from the Rochester side of the river, either the south or west. While the army advanced towards the city the royalist garrison set alight the suburbs. The king's hall within the castle was also burned down. An army under Simon de Montfort marched from London with the intention of attacking the city from another direction. The earl's first two attempts to cross the Medway were fought back, but he was successful on 18 April, Good Friday using a fire-ship . The smoke may have been used as cover for the rebels, or the ship may have been used to burn the bridge while the army travelled by water. In a co-ordinated attack that had been pre-arranged, the armies of de Montfort and de Clare attacked the city. They entered Rochester in the evening and that night the cathedral was raided. The following day the rebels captured the castle's outer enclosure and the royal garrison retreated to the keep. Because the next day was Easter Sunday there was no fighting; hostilities resumed on the Monday. Siege engines were set up and targeted the keep. As in 1215 the keep proved resistant to missiles, and after a week had not succumbed. According to one contemporary source, the besiegers were about to dig a mine beneath the tower, but the siege was abandoned on 26 April when the earls received news of a relief force led by Henry III and his son, Prince Edward . [ 34 ] Later history [ edit ] Though the garrison had held out within the keep, the rest of the castle had incurred severe damage, but no attempt was made to carry out repairs until the reign of Edward III (1327–1377). It was noted in 1275 that the castle's constables had not only failed to make any effort to repair the structure but had caused further damage: they stole stone from the castle for reuse elsewhere. In 1281 John of Cobham, the constable, was granted permission to pull down the castle's hall and chambers which had been left as burnt-out ruins after the 1264 siege. Numerous surveys in the following century bear testament to the castle's sorry state and follow its steady decline. A survey from 1340 estimated that repairs would cost around £600; another conducted 23 years later stated that it would cost £3,333 6s 8d. Natural weathering worsened the condition of the castle, and in 1362 a "great wind" damaged the structure. By 1369 few of the castle's buildings still stood: the keep, gatehouses, a hall, kitchen, and stable were all that survived, and even then in a state of ruin. [ 36 ] The keep was in desperate need of repair, but it was still in use and was the centre of the domestic life at the castle. [ 37 ] Elizabeth de Burgh Queen of Scots, captured by English in 1306, was confined in the castle in 1314 from March [ 38 ] to June. Between May 1367 and September 1370 repairs costing £2,262 were carried out. Records show that sections of the curtain wall were repaired and two mural towers built, one of them replacing a tower on the same site. The towers were positioned north-east of the keep and still stand. More work was undertaken between 1370 and 1377, the year of Edward's death. [ 39 ] The royal apartments built during Henry III's reign were never repaired; it has been suggested this was because by the 14th century, when considerable sums were being spent on repairs elsewhere in the castle, Rochester had fallen out of favour as a royal residence. As the castle's importance as a high-status residence waned, its role as a barracks and administrative centre came to the fore. [ 40 ] The reign of Richard II (1377–1400) saw the investment of £500 in repairing the castle. This was in part in response to French raids on England's southern coast during the Hundred Years' War as England's fortunes in the conflict worsened. The most significant of these works was the construction of a tower at the north end of the castle, overlooking the bridge over the Medway. [ 41 ] Records document the sum of £350 spent on a new tower between 1378 and 1383, and it mostly likely refers to the one guarding the bridge. Rochester Castle saw fighting for the final time during the Peasants' Revolt of 1381. It was besieged and captured by a group of rebels who plundered the castle and released a prisoner. It has been suggested that the £66 10s spent in 1384–1388 and the £91 13s spent in 1395–1397 may have been partially in response to damage incurred during the revolt. [ 42 ] A map of Rochester by William Smith (1588), with the castle and cathedral towering over the town. Sloane MS 2596, f.16. During the reigns of Henry IV (1399–1413) and his successor Henry V (1413–1422), Rochester Castle was in the guardianship of William, Earl of Arundel and his brother Richard. The castle was given to Henry V's widow, Catherine of Valois , in 1423 as part of her dower to support her financially. She died in 1437, at which point the castle came under the custodianship of the clerk of the King's works. [ 43 ] Despite this, there are no records of building work during the 15th century [ 44 ] and almost nothing is known about Rochester Castle between then and the second half of the 16th century. The decline of the castle's military significance is marked by the leasing of the surrounding ditch, beginning in 1564 at the latest. Between 1599 and 1601 stone from Rochester Castle was reused to build nearby Upnor Castle , an artillery fort. [ 45 ] In 1610 James I granted Sir Anthony Weldon control of the castle. Anne of Denmark and her daughter Princess Elizabeth came to the castle and had dinner on 14 April 1613 before Elizabeth sailed from Margate on her journey to Heidelberg . [ 46 ] Diarist Samuel Pepys commented on the condition of Rochester Castle, and as early as the 17th century the castle may have acted as a tourist attraction. [ 47 ] By this time many castles were in a state of ruin, and Rochester was amongst those in need of repair, although still in use. [ 48 ] During the English Civil War , Anthony Weldon declared for the Parliamentarian cause. The castle did not see fighting during the war, even when the city was captured by Royalists in 1648; this may indicate that the castle was not a serviceable fortification by this point. Weldon's support for the Parliamentarians may have spared the castle from slighting (demolition) in the aftermath, a fate suffered by many other castles. Walker Weldon inherited the castle and carried out the destruction of part of the outer wall in the 18th century to sell off the building material; he had originally intended to dismantle more of the castle, but the plans were abandoned. A drawing from around this time suggests that the cross wall had been removed by this point. While other parts of the castle were dismantled, the two towers in the south-east wall were still being used for accommodation. In 1743 prisoners were held at the castle, probably in huts. Rochester Castle descended through the Weldon family until it was bequeathed to Thomas Blechynden in the 18th century. By 1774 Robert Child was in possession of the castle, and it remained in the possession of his family until 1884. There were unsuccessful plans in 1780 to reuse Rochester Castle as an army barracks, after the commander of the Royal Engineers for Chatham, Colonel Hugh Debbieg , asked the Child family for permission. [ 49 ] The castle ruins inspired a painting by artist J. M. W. Turner in the late 18th century, one of his first oil paintings. Turner was renowned for his love of nature and was at the forefront of the picturesque movement, [ 50 ] during which such ruins became fashionable. [ 51 ] An engraving of Rochester Castle from across the Medway in 1836 by G. F. Sargent (top) and a photochrom of the Castle being used as a public park in the 1890s (bottom). By the 19th century, gardens were created within the castle's enclosure. [ 52 ] Charles Dickens lived in Rochester and included the castle ruins in The Pickwick Papers and The Mystery of Edwin Drood . Through the words of one of his characters, Dickens described the castle as a "glorious pile – frowning wall – tottering arches – dark nooks – crumbling stones". [ 53 ] Many of England's historic buildings, particularly ruins, have acquired myths and legends, and some are rumoured to be haunted. [ 54 ] Rochester is no exception, and is reportedly haunted by a white lady . Dickens is also said to haunt the moat on Christmas Eve. [ 55 ] The 19th century saw efforts to preserve the castle. In 1826 repairs were made to the well in the keep. At the same time a survey was carried out by A. W. N. Pugin and he excavated around the keep, investigating how it was built. He descended into the well in a bucket in an unsuccessful search for treasure. Victor Child Villiers, 7th Earl of Jersey , leased the castle to the Corporation of Rochester in 1870 for use as a public park; when it opened to the public in 1872, Rochester Castle was presented as a picturesque ruin, with trees planted in the enclosure and the walls overgrown with ivy. In 1884 the Corporation bought the castle for £6,572 [ 56 ] (equivalent to £3.4 million in 2009 terms). [ 57 ] Between 1896 and 1904, George Payne carried out repairs. In the first quarter of the century the gardens acquired a German field gun, a tank from the First World War, and a bandstand; these were removed by 1961. Ivy was removed from the keep between 1919 and 1931 and the planting in the castles scaled back. [ 58 ] In 1960 the origin of Boley Hill was investigated archaeologically, but the excavations failed to provide firm dating evidence. [ 59 ] The castle's state was assessed in 1961, and the cost of repairs estimated at £30,000 [ 60 ] (equivalent to £1.1 million in 2009 terms). [ 57 ] The Ministry of Public Building and Works took over care of the castle from the Corporation of Rochester in 1965. [ 44 ] Records of the Ministry's conservation work have gone missing, so precisely what was done is unclear. Between 1962 and 1965 the council removed buildings from the castle's ditch. [ 61 ] Guardianship transferred to English Heritage in 1984. Since 1995 the City of Rochester has been responsible for daily management of the castle. [ 60 ] Descaling at the start of the 21st century contributed to the decay of the keep, and one of the mural towers was in need of maintenance. [ 62 ] Due to the decayed state of the keep, public access is restricted and netting has been erected to protect visitors. [ 63 ] The possibility of adding floors and a roof to the keep was discussed in the 1970s and 1990s, but there were concerns that a roof would change the climate within the building. [ 62 ] The castle is a Scheduled Monument , [ 64 ] a "nationally important" historic building and archaeological site which has been given protection against unauthorised change. [ 65 ] It is also a Grade I listed building , [ 66 ] and recognised as an internationally important structure. [ 67 ] The castle is open to the public. Architecture [ edit ] Engraving of Rochester's keep with the stone curtain wall and two towers in front of overgrown ruins, by W. H. Bartlett in 1735 ( left ), and a similar view in 2003 ( right ). Little is known about the design of the first castle at Rochester as it has since vanished, and even the exact site is uncertain. It most likely took the form of a motte-and-bailey castle, with a mound and an outer enclosure defended by a timber palisade and earthen banks. [ 1 ] Boley Hill has been suggested as the site of the first castle, an outwork reinforcing the castle's defences, or an abandoned siege castle like those documented in the 1088 siege. [ 59 ] Boley Hill is a natural outcrop of rock, and could have acted as a motte. [ 68 ] The castle built by Bishop Gundulf in the late 12th century was enclosed by a stone wall. Situated in the south-west corner of the city, the castle used the remains of the Roman town walls as foundations. The circuit had at least one tower; it was replaced in the 14th century. The original gateway was radically altered in the 13th or 14th century. [ 69 ] From across the River Medway, the twin landmarks of Rochester's castle and cathedral would have dominated the medieval landscape, symbolic of the authority of the church and nobility in the period. [ 70 ] Most castles were built by secular nobles, but the work by Gundulf and his successor Corbeil provide examples of the role of the church in castle building. [ 71 ] A plan of Rochester Castle's keep from MacGibbon and Ross 's The castellated and domestic architecture of Scotland from the twelfth to the eighteenth century (1887) According to military historian Allen Brown Rochester's keep is "among the finest and oldest in all England". [ 72 ] Since its construction it has undergone limited alteration, aside from the rebuilding of one corner, and although now in a state of ruin it remains significantly intact and is considered one of the most important surviving 12th-century keeps in England and France. [ 73 ] The keep was richly decorated with hangings and furnishings. [ 74 ] Dating from the second quarter of the 12th century, it is Rochester Castle's dominant feature. It had a square plan, and measures 70 by 70 feet (21 by 21 m) externally with pilaster buttresses at each corner. The keep was built in the castle's southern corner, close to the curtain wall. The primary building material was local Kentish Ragstone ; Caen stone used to face the keep was imported from Normandy. [ 75 ] The same material was imported for the Tower of London's White Tower in the 11th century. [ 76 ] The tops of the turrets rise 125 feet (38 m) above the ground, 12 ft above the battlements. Below the latter are rectangular holes, marking where wooden hoarding would have been attached. The walls of the keep are 12 ft thick at the base, and taper to 10 ft at the top. [ 77 ] It is the tallest keep in England, and only those at Dover, the Tower of London, Colchester, and Norwich are larger. [ 73 ] During John's siege of Rochester in 1215, the south-east corner collapsed; during Henry III's reign it was rebuilt as a cylinder. The windows increase in size higher up the walls; those in the uppermost were decorated. [ 78 ] A spiral staircase in the north-east corner provided access to all floors, and another in the south-west corner went from the first floor to the top floor. [ 79 ] The north-west corner tower contains small chambers, and the south-east probably had a similar layout before it was rebuilt. [ 14 ] Keeps were traditionally built with an entrance at first-floor level, and Rochester's follows this pattern. [ 80 ] A forebuilding attached to the north side guarded the entrance. A stone staircase began on the west side of the keep before turning and meeting the forebuilding, which could be entered by crossing a drawbridge across a gap 9 feet (2.7 m) wide. There was another entrance in the west of the forebuilding, and at some point a new doorway was knocked through to the keep at the bottom of the drawbridge pit. The original door from the forebuilding into the keep was protected by a portcullis . [ 78 ] The roof and floors of the keep no longer survive. The stone-built keeps of the 11th century generally had simple plans, with few rooms and an uncomplicated layout. Rochester's keep bears testament to a developing complexity, and provides an early example of a keep divided into separate areas for the lord and his retinue. [ 81 ] The thickness of the walls allowed rooms to be built into them, as can also be seen at the Hedingham Castle 's contemporaneous keep, or the slightly later one at Dover . The keep's interior is divided for its entire height by a cross wall running east–west. The ground floor was used for storage, with the three storeys above providing accommodation. [ 82 ] The first floor probably contained a hall and great chamber, divided by the cross wall. This level may have been the accommodation of the castle's constable who looked after it during the owner's absence. There is a room called "Gundulf's Chamber" built into the thickness of the wall in the north-west corner; it may well have been the constable's private chamber. The second floor contained the keep's best accommodation and some of its most elaborate decoration. It is 27 feet (8.2 m) high and surrounded by a gallery in its upper half built into the thickness of the walls. The floor also had a chapel measuring about 28 by 15 feet (8.5 by 4.6 m). [ 83 ] At some unknown point in the post-medieval period, a fire gutted the keep, leaving it in its present state without floors or a roof. On the second floor, there are openings in the cross wall, broken by a series of Romanesque columns between round-headed arches. The cross wall carried a well shaft, with a well-head at each floor. [ 84 ] The third floor had a second chapel and access to the roof, and may have held additional accommodation. [ 85 ] The riverside curtain wall dates from the 12th century, when the castle was first surrounded by a stone wall. The current entrance in the north-east occupies the approximate location of the main gatehouse constructed by Gundulf and then rebuilt during 1249–1250. It was pulled down in the 1870s when the enclosure was converted into a municipal garden. An engraving from 1735 by the Buck brothers gives some indication of the gatehouse's form: the gate was an archway between two towers projecting from the curtain wall. It was reached by a stone causeway across a ditch, rather than a drawbridge. A tower containing a postern gate was located in the north-west corner of the enclosure, built at the close of the 14th century to guard the bridge over the Medway. The tower and postern no longer stands, but 19th-century antiquary and engineer G. T. Clark made some notes on the structure while it was still standing and commented that it had mechanisms to lift supplies for the castle from the river. [ 86 ] The western part of the stone outer wall, a stretch facing the river, dates from when Gundulf built the first wall enclosing the castle. In the 19th century a revetment was added to strengthen the decaying wall. Like the keep, it was constructed using Kentish Ragstone. This part of Gundulf's wall was 4.5 feet (1.4 m) thick at the base, narrowing to 2 feet (0.61 m) at the top; it rose to a height of around 22 feet (6.7 m). Four embrasures were added to this part of the wall in the 13th century; the builders imitated Norman design . At the northern end of the 12th-century stretch of western wall are the remains of a building, probably a hall, dating from the 13th century. Its vaulted undercroft is no longer standing. [ 87 ] In the south Gundulf's wall survived into the modern period, but has now been dismantled. The current wall is a 19th-century replacement. At the eastern end of this wall, near the southern corner of the castle, is a two-storey rounded tower 30 feet (9.1 m) in diameter dating from the early 13th century. It was built to fill the breach in the curtain wall caused when John's army besieged the castle and to reinforce a weak point in the defences. The section from the tower to the location of the former main gatehouse in the north-east dates from about 1367 to 1370. Two towers were built along the wall, each two storeys high and again using Kentish Ragstone. The one nearest the keep is relatively plain and the northernmost one more elaborate. The latter was intended for use as a residence and in the modern period was converted into a cottage. The wall between these two towers was reduced in the modern period, possibly to give a better view of the cathedral. Apart from the west side, the castle was surrounded by a ditch, much of which has since been filled in. [ 88 ] See also [ edit ] Governor of Rochester Castle - including list of governors or constables Castles in Great Britain and Ireland List of castles in England List of tallest structures built before the 20th century Ironclad Notes [ edit ]
|
|
1,128
|
8.9047222°E
|
44.4045667°N
|
Lighthouse of Genoa
|
https://en.wikipedia.org/wiki/Lighthouse_of_Genoa
| 11,191
|
Italy
|
Lighthouse Lanterna Lighthouse of Genoa during the sunset Location Genoa , Liguria , Italy Coordinates 44°24′16.44″N 8°54′17.00″E / 44.4045667°N 8.9047222°E / 44.4045667; 8.9047222 Tower Constructed 1128 (some sources 1161) Foundation Natural emplaced Construction Stone Automated 1936 Height 76 m (249 ft) [ 2 ] Shape Two square prisms Markings Unpainted, save for the city arms on the lower stage; lantern painted with red-and-white checkerboard pattern Operator Marina Militare Heritage Italian national heritage Light First lit 1543 (current tower) [ 1 ] Focal height 117 m (384 ft) [ 3 ] [ 4 ] Lens Wood fire, later first order Fresnel lens Light source electric power distribution Intensity main: AL 1000 W reserve: LABI 100 W Range main: 25 nautical miles (46 km; 29 mi) [ 3 ] reserve: 18 nautical miles (33 km; 21 mi) Characteristic two white flashes , separated by 5 s, every 20 s. [ 1 ] Italy no. 1569 E.F [ 5 ] The Lighthouse of Genoa ( Italian : Lanterna di Genova ), known as La Lanterna , is the main lighthouse serving the Port of Genoa . Besides being an important aid to night navigation in the vicinity, the tower serves as a symbol and a landmark for the city of Genoa . Rebuilt in its current shape in 1543 replacing the former lighthouse, it is the world's fourth oldest lighthouse, following the Tower of Hercules in A Coruña , Spain , Hook Head Lighthouse in Ireland , Kõpu Lighthouse , on the island of Hiiumaa , Estonia . Built of masonry, at 76 m (249 ft), it is constructed in two square portions, each one capped by a terrace. The whole structure is crowned by a lantern from which the light is shone. [ 1 ] Between 1543 and the construction of the lighthouse on Île Vierge , France in 1902, it was the tallest lighthouse in the world. It is now the world's fifth tallest lighthouse, the second tallest lighthouse built in traditional masonry after Île Vierge and the tallest lighthouse of the Mediterranean Sea . When measured as a whole with the natural rock on which it stands, as it is commonly perceived and represented, its total height is 117 m (383 ft), which makes it the second tallest lighthouse in the world, the tallest in Europe , and the tallest in the world when only traditional lighthouses are considered. [ 6 ] [ 7 ] History of the tower [ edit ] Location [ edit ] The Lanterna is on the hill of San Benigno at some little distance from the Sampierdarena neighborhood. The cape on which the Lanterna stands was at one time a peninsula before the nearby coastline was filled in and reshaped. To the west, it marked the entrance to the original port of Genoa, today the Porto Antico . Over time, the hill on the cape assumed the name "Capo di Faro", or "Lighthouse Cape"; it is also sometimes referred to as the cape of San Benigno, after the convent that once stood there. Today, the hill is gone save for a small rise upon which the lighthouse stands; the rest of it was removed to provide infill for other areas of the city. The city of Genoa in a woodcut from the Nuremberg Chronicle , 1493; the Lanterna can be seen in the left edge of the picture. Medieval light [ edit ] The first tower at this location, a structure formed of three crenellated towers, was built, most sources say, around 1128, [ 4 ] although at least one states that it was built in 1161. [ 1 ] At the time it sat close to the main coastal road, called the Via di Francia , which more recent documents describe as passing between it and the sea. When it was constructed the tower was fairly far from the city; it was only in the seventeenth century that it became part of the so-called "Cerchia Seicentesca", part of the seicento , the walls of Genoa . It has remained a part of the system until today. Dried pieces of erica and juniper wood were used to fuel the signal fire in its early years; for upkeep, navigators who used the port were expected to pay a tax upon their approach to the city. The tower also played a part, early in its career, in the ongoing feud between the Guelphs and Ghibellines ; during one battle, the Ghibellines damaged it considerably during an attempt to dislodge a group of Guelphs who had taken refuge inside. [ 4 ] In 1318 and again in 1321, it was decided to dig a defensive trench around the tower, the better to protect it from damage in battle. [ 4 ] In 1326 the first oil-based lantern, whose fire was fed by olive oil , was added to the structure, [ 1 ] so that incoming vessels could better distinguish the signal fire upon approach. For the same reason, in 1340 the tower was painted with the coat of arms of the city, the better to serve as a distinctive daymark . [ 4 ] In around 1400 the lighthouse was further converted for use as a prison ; among the hostages therein accommodated were the king of Cyprus , James II , and his wife. [ 4 ] In 1405 the priests who were responsible for the upkeep of the lighthouse placed on its cupola a fish and a golden cross to serve as symbols of Christianity . [ 4 ] In 1449 one of the keepers of the lighthouse was listed as Antonio Colombo, uncle of explorer Christopher Columbus . [ 1 ] The reconstruction of 1543 [ edit ] The Lanterna of Genoa In 1528, when Genoa was under French military occupation , the Genoese admiral Andrea Doria attacked the harbor with thirteen galeas , regaining control of the city. During these events, the Lanterna was badly damaged by friendly fire. The lighthouse tower was reconstructed in the current Renaissance style by the Doge Andrea Centurione Pietrasanta in 1543, with the financial support from the Bank of Saint George . [ 1 ] [ 4 ] Modern history [ edit ] The Lanterna of Genoa The tower was shelled during the bombardment of Genoa by the French in 1684; [ 4 ] the windows which were damaged were replaced on the orders of Louis XIV in 1692. In 1778 construction began on a new lighting system designed to counteract damage done to the lighting apparatus over several centuries of use. In 1840 a rotating Fresnel lens was installed; [ 4 ] the system was formally inaugurated in January 1841. It was modified up until the end of the century in order to increase its capability; the entire lighthouse was modernised again in 1913, [ 1 ] but the electrification was poorly done, and had to be refitted in 1936. [ 4 ] One last major restoration project, begun after American and British air attacks of World War II , was completed in 1956. It is also the symbol surrounding the Derby della Lanterna between two football clubs, Genoa C.F.C. and U.C. Sampdoria . [ 8 ] Panorama of the port with the Lanterna. Lanterna Museum [ edit ] Adjacent to the tower is the Museo della Lanterna , which may be reached by a walk from the old city walls to the foot of the beacon at the via Milano . It is also accessible from the neighboring Genova-Ovest highway. Work on the facility was completed in 2004, and the museum was opened to the public in 2006; at the same time a new entry door was installed in the lighthouse. Further restoration involved replacement of some decorative elements on the attic of the tower and systematic paving, in stone, of the accessway. [ 9 ] The city park to the north has also been rehabilitated. [ 4 ] Stylized Lanterna at Euroflora 2006 The museum mainly covers the history of the city and the port, and contains a good deal of archival material. [ 4 ] Some of the displays also cover the history of navigation and navigational aids in Genoa, and describe various signaling systems that have been used at sea. Part of a Fresnel lens, similar to that found in the lighthouse itself, is shown in such a manner as to display its inner workings. In addition to the permanent displays, temporary exhibits are also sometimes shown at the museum. The tower has been struck by lightning several times in its career. The most serious occasion, in 1481, led to the death of one of its guardians. In 1602 lightning demolished a part of the crenellation on the top tower, and in 1603 another strike, again on the same tower, hit a decorative marble tablet with the text Jesus Christus rex venit in pace et Deus Homo factus est [ 10 ] (Jesus Christ king came in peace, and God became Man). This tablet may still be seen today; it is mounted on the ground at the base of the top tower. At one time the lighthouse worked in tandem with a smaller tower, posted at the other end of the harbor where the cotton warehouses in the Porto Antico now stand. Management [ edit ] Management of the tower is under the authority of the Lighthouse Command Zone of the Marina Militare , and is directed from its center in La Spezia , which oversees all of the lighthouses in the region. The Marina Militare has been responsible for all lights on the Italian coast since 1910 , and employs both military and civil technicians for the purpose. Image gallery [ edit ] Lanterna photographed from the walkway below Lanterna photographed from the south side The view from Lanterna towards the north The view from Lanterna towards the north-est The view from the Lanterna towards the south The view from the Lanterna to the west East view from the Genoa Lantern See also [ edit ] List of lighthouses in Italy List of tallest lighthouses in the world Bibliography [ edit ] La Lanterna, storie e leggende del Faro più famoso del mondo , Editrice Il Golfo, 2000. Notes and references [ edit ]
|
|
1,129
|
7.8068°W
|
41.0965°N
|
Our Lady of the Assumption Cathedral, Lamego
|
https://en.wikipedia.org/wiki/Our_Lady_of_the_Assumption_Cathedral,_Lamego
| 1,618
|
Portugal
|
Church in Lamego, Portugal Our Lady of the Assumption Cathedral Sé Catedral de Nossa Senhora da Assunção Location Lamego Country Portugal Denomination Roman Catholic Church The Our Lady of the Assumption Cathedral [ 1 ] ( Portuguese : Sé Catedral de Nossa Senhora da Assunção ) also called Lamego Cathedral [ 2 ] is a religious building affiliated with the Catholic Church that was founded in 1129. It is located in the city of Portuguese city of Lamego [ 3 ] [ 4 ] The temple follows the Roman or Latin rite and serves as the seat of the diocese of Lamego ( Dioecesis Lamacensis or Diocese de Lamego ) that was created about 570. It is a cathedral built in Gothic style , which preserves the bell tower original square, but the rest of the architecture reflects the changes made in the sixteenth and eighteenth centuries, including a Renaissance cloister with a dozen arches and well proportioned. See also [ edit ] Roman Catholicism in Portugal Our Lady of the Assumption References [ edit ]
|
|
1,129
|
2.593669°W
|
51.458522°N
|
St James' Priory, Bristol
|
https://en.wikipedia.org/wiki/St_James%27_Priory,_Bristol
| 3,640
|
United Kingdom
|
Church in England St James' Priory Church 51°27′31″N 2°35′37″W / 51.458522°N 2.593669°W / 51.458522; -2.593669 Location Whitson Street, Horsefair, Bristol , England Country United Kingdom Denomination Catholic Previous denomination Catholic , Anglican (until 1996) [ 1 ] History Status Priory church Founded c.1129 Founder(s) Robert Rufus Dedication St James Architecture Functional status Active Heritage designation Grade I listed Style Romanesque , Gothic Groundbreaking c.1129 Completed 1374, with alternations from the 15th, 17th, 18th, and 19th centuries Specifications Materials Stone Bells 10 Administration Diocese Clifton Listed Building – Grade I Official name Church of St James' Priory Designated 8 January 1959 Reference no. 1282067 The Priory Church of St James , Bristol ( grid reference ST588734 ), is a Grade I listed building [ 2 ] in Horsefair, Whitson Street. St James' Priory Monastery information Order Benedictine (until 1539); Little Brothers of Nazareth (1996–present) Denomination Catholic Established 1137 Disestablished 1540 Reestablished 1996 Mother house Tewkesbury Abbey Dedicated to Saint James the Greater Controlled churches The Priory Church of St James, Bristol Architecture Status Priory Functional status Active It was founded in 1129 as a Benedictine priory by Robert , Earl of Gloucester , the illegitimate son of Henry I . The early nave from 1129 survived the Dissolution of the Monasteries because an agreement in 1374 between the Abbot of Tewkesbury and the parishioners stated that the nave would become the parishioners responsibility, [ 3 ] and the tower was added around 1374. On 9 January 1540 the dissolution of the monasteries by Henry VIII meant that St James Priory was surrendered to the crown. The priory buildings were demolished, keeping only the nave of the church. In 1543 the land and the right to hold a fair were sold to a London merchant-tailor. [ 4 ] In 1604 there was concern that the national attraction of St James' Fair would increase the spread of the plague , so a royal proclamation was issued prohibiting Londoners from attending. [ 4 ] The south aisle was widened and rebuilt in 1698. The porch dates from the late 18th century, and the north aisle was rebuilt in 1864. [ 2 ] [ 5 ] The traditional account, as told to John Leland , [ 4 ] has it that every tenth stone brought from Normandy to build the Castle was set aside to build the Priory. [ 6 ] Before the recent restoration (see below) the building was on the Historic England Buildings at Risk Register and described as being in very bad condition. [ 7 ] However, substantial restoration and reordering work was completed in 2011 and as of 2014 St James Priory is not on the Heritage Buildings at Risk Register. [ 8 ] [ 9 ] Today, it is an active church within the Catholic Diocese of Clifton , which until 1996 was a Church of England place of worship. [ 1 ] Archives [ edit ] Parish records for St James' Priory, Bristol are held at Bristol Archives (Ref. P.St J), online catalogue [ 10 ] including baptism, marriage and burial registers. The archive also includes records of the incumbent , churchwardens, overseers of the poor , parochial church council , chantries , charities, St James' Fair, schools, societies and vestry plus deeds, photographs and plans. Other records for St James' Priory can be found at Cambridge University Library . [ 11 ] St James's Fair [ edit ] Earl Robert 's endowment to the priory in 1137 included permission to hold an annual fair. [ 4 ] From 1238 an annual fair held over fifteen days, was held here. [ 6 ] Later charters show the original date of the fair to be Whitsun Day, but the inconvenience of the festival changing date each year soon changed the fair day to 25 July, the feast day of St James. [ 4 ] It was later changed to the first fortnight in September. The fair, which was held in the Churchyard and adjoining streets, was regarded as the most important of the Bristol Fairs. The income from the Fair meant that St James Church could be richly decorated, in 1498 an elaborate reredos was built to go with the existing rood screen . The contract made it clear that the rood screen should be bigger and better than the one recently erected at St Mary Redcliffe . [ 4 ] The papers from a court case in 1518-19 show that the fair was so popular it had overflowed the boundaries of the graveyard and stalls and booths were sited in the surrounding streets. The entertainments at the fair included theatre, bear-baiting , sports as well as minstrels and wrestling, exhibitions of wild animals, acrobats, puppets (including Punch and Judy ), magicians and musicians. One year the prize exhibition was 'Toby the salient Pig.' Further entertainments took place on 'The Marsh' which later became Queen Square . [ 4 ] Amongst the groups of players on the Mayor's ledger books for the St James Fair are the Lord Chamberlain's Men , which could suggest that Shakespeare performed in Bristol. [ 4 ] The Ledger kept by the merchant John Smyth shows how he (and other city merchants) planned their year so that their goods (such as wine, dyes, oil, iron, fruit, and luxury goods) would be in stock in time for the fair. [ 4 ] By the 17th century the fair was so prominent that merchant ships sailing into Bristol for it were frequently attacked by Turkish pirates in the Bristol Channel . The last fair was held in 1837 under pressure from moralists and strict religious people concerned about the corruption of the young and disapproving of such frivolities set in a graveyard. [ 4 ] It also subsequently left its mark on the geography of Bristol as a nearby road in Broadmead is called the Horsefair. The St James Barton roundabout ( The Bearpit ) retains the name of the Barton or Priory Farm, on which's land the Fair was once held. [ 4 ] St James Priory Project [ edit ] A plan of the priory from 1882 After the Dissolution of the Monasteries , the nave of the priory church continued in use as an Anglican parish church. It fell into disuse in the 1980s and declared a redundant church before the Church Commissioners put it up for sale. [ 12 ] In 1996 the Little Brothers of Nazareth re-established it as a Catholic church, and set up the St James Priory Project which offers support to vulnerable people especially those with a history of substance dependency and mental illness. Restoration [ edit ] Following the award of a Heritage Lottery Fund grant of £3.2 million to conserve, repair, and develop the Priory, building work started in November 2009. The St James Priory charity had to fundraise a further £1.2 million of matched funding toward the restoration work. Conservation, restoration and development lasted 21 months and the Priory Church was re-opened on 25 July 2011. [ 13 ] [ 14 ] Archaeologists from Bristol and Region Archaeological Services were on site during the restoration works, and uncovered a fragment of what may be the earliest scientific sundial in Britain. The sundial is a block of Bath stone carved with hour lines and medieval Arabic numerals in a style that suggests it was probably made in the 15th century. [ 15 ] [ 16 ] The discovery that a statue in the church had originally been topless made headlines around the world. [ 17 ] Burials at St James' Priory, Bristol [ edit ] Robert, 1st Earl of Gloucester Mabel FitzRobert, Countess of Gloucester Eleanor, Fair Maid of Brittany Illustrations Monochrome print of St James' church from c.1838. The image shows the church from the south east aspect in the background, with the graveyard (the site of St James' Fair) in the foreground. In the graveyard can be seen a mother with three children standing at a grave. Monochrome illustration of St James' church and Priory ruins, published in 1630. The image shows the church from the south east aspect in the background on the left, with the Priory ruins in the foreground in the centre and on the right. Amongst the ruins can be seen men and women in seventeenth century costume. Monochrome illustration of the west end of St James' church, published in 1820. The image shows the parts of the priory stonemasonry incorporated into the church facade and a jumble of non-ecclesiastical buildings in the foreground including a tall chimney. See also [ edit ] Grade I listed buildings in Bristol Churches in Bristol List of English abbeys, priories and friaries serving as parish churches References [ edit ]
|
|
1,130
|
0.1189°E
|
52.2084°N
|
Church of the Holy Sepulchre, Cambridge
|
https://en.wikipedia.org/wiki/Church_of_the_Holy_Sepulchre,_Cambridge
| 8,676
|
United Kingdom
|
Church in Cambridge, England The Round Church, Cambridge Church of the Holy Sepulchre West front of the Church of the Holy Sepulchre, Cambridge The Round Church, Cambridge Location in Cambridgeshire 52°12′30″N 0°07′08″E / 52.2084°N 0.1189°E / 52.2084; 0.1189 OS grid reference TL 448 588 Location Cambridge Country England Denomination Anglican Previous denomination Catholic Website Round Church History Founded c. 1130 Architecture Functional status Parish Church Heritage designation Grade I Designated 26 April 1950 Architect(s) Anthony Salvin (restoration) Architectural type Church Style Norman , Gothic Revival Completed 1842 Specifications Materials Stone Bells 2 The Church of the Holy Sepulchre , generally known as The Round Church , is an Anglican church in the city of Cambridge , England. It is located on the corner of Round Church Street and Bridge Street . Since 1950 the church has been designated a Grade I listed building , [ 1 ] and is currently managed by Christian Heritage. [ 2 ] It is one of the four medieval round churches still in use in England. [ 3 ] History [ edit ] Holy Sepulchre in 1809 showing the Gothic bell-storey The church was built around 1130, its shape being inspired by the rotunda in the church of the Holy Sepulchre , Jerusalem . It was built by the Fraternity of the Holy Sepulchre, who were probably a group of Austin canons. It consisted of a round nave and an ambulatory , with a short chancel , probably in the shape of an apse . [ 4 ] Initially it was a wayfarers' chapel on the Roman road known as Via Devana (this is now Bridge Street). [ 5 ] By the middle of the 13th century it had become a parish church under the patronage of Barnwell Priory . Around this time structural alterations were made to the church, with the rebuilding of the chancel and the addition of a north aisle , the aisle being shorter than the chancel. [ 6 ] During the 15th century the Norman style windows in the nave were replaced by larger Gothic style windows. The carvings of angels in the roofs of the chancel and aisle were added. A polygonal bell-storey was built over the nave. [ 7 ] In 1643, during the Civil War , many of the "idolatrous" images were destroyed. [ 8 ] By the 19th century the church was in a poor state of repair. Part of the ambulatory collapsed in 1841, and the Cambridge Camden Society offered to carry out repairs. They appointed Anthony Salvin for the purpose. [ 9 ] "[2 January 1644 Holy Sepulchre, in Cambridge] We break down 14 superstitious Pictures, divers Idolatrous Inscriptions, one of God the Father, one of Christ and of the Apostles." The Journal of William Dowsing Salvin replaced the bell-storey with a roof similar to the original roof. This was made necessary because the weight of the bell-storey was too much for the walls to support. The 15th-century Gothic windows were replaced by windows in Norman style, and a formerly-inserted gallery was removed, together with the external staircase leading to it. To compensate for this, a new south aisle was added. It was found that the east wall of the chancel was unstable and this was replaced. Then the north aisle, by that time in poor condition, was also rebuilt, extending it to the same length as the chancel. The floor, previously black marble, [ 10 ] was relaid in tile. The original estimate for the cost of the restoration was £1,000, with the parish paying £300; it eventually cost nearly £4,000 (equivalent to £500,000 in 2023), [ 11 ] with the parish providing only £50. [ 12 ] The erection in 1843 of a stone altar was the subject of a lawsuit. In 1845 the Court of Arches ordered that it be taken down and replaced with a wooden table. [ 13 ] In 1866 the Cambridge Union Society built their premises in the church's former graveyard, while, in 1899, a vestry was added to the north of the north aisle; this was extended in 1980. [ 14 ] The Victorian stained glass in the east window was destroyed by a bomb in the Second World War and was replaced in 1946. [ 15 ] By 1994 the congregation had become too large for the church, and they moved their gatherings to the nearby Church of St Andrew the Great . [ 5 ] Architecture [ edit ] The church is built in stone. Its plan consists of a circular nave surrounded by an ambulatory , a chancel with north and south aisles and a north vestry. [ 15 ] Over the nave is an upper storey surmounted by a conical spire. [ 5 ] To the north of the church is an octagonal bell- turret containing two bells. The church is entered by a Norman west doorway with three orders of colonnettes, decorated with scalloped capitals and zigzags, and crenellations in the voussoirs . [ 16 ] Between the ambulatory and the nave are eight massive Norman columns and round arches. Each of the capitals of the columns is carved with a different design. Part of the vault of the ambulatory has dog-tooth ornamentation. In the ambulatory and nave are carved human heads dating from the 19th century. Above the nave is a triforium containing double Norman arches. [ 17 ] To the east are the chancel and aisles. In the chancel and the north aisle are carved angels dating from the 15th century which are attached to the corbels supporting the roof; some of the angels are holding or playing musical instruments. The communion table dates from 1843 and was made by Joseph Wentworth. The chancel is floored between the choir stalls with tiles laid in 1842. They depict the Royal coat of arms , and the arms of Queen Victoria and Prince Albert . At the corners are animals representing the Four Evangelists . There are two bells in the bell-turret. One of these is dated 1663 and was cast by Robard Gurney; the other is a priest's bell possibly cast by J. Sturdy of London between 1440 and 1458. [ 18 ] Most of the stained glass in the church was introduced during the 19th-century restoration and was designed and made by Thomas Willement and William Wailes . The glass in the east window was destroyed by a bomb in 1942 and was replaced by a new window in 1946 depicting Christ in Majesty. [ 16 ] Interior looking towards the altar The nave (foreground) and north aisle (background right) Stereo image Right frame Left frame Cross-eye view ( ) Parallel view ( ) The Round Church and the south end of Round Church Street. Recent history and present day [ edit ] By 1994 the congregation had grown too large to be accommodated and it moved to the nearby Church of St Andrew the Great . [ 19 ] Holy Sepulchre is open for visitors [ 5 ] and contains an exhibition entitled The Impact of Christianity in England , [ 20 ] and a study centre known as a scriptorium . [ 21 ] The church hosts concerts, recitals and plays, [ 22 ] and arranges courses, summer schools, and lectures. [ 23 ] [ 24 ] [ 25 ] Burials [ edit ] John Lowry See also [ edit ] List of church restorations and alterations by Anthony Salvin St Bene't's Church , the oldest building in Cambridge, dating from 1033 Leper Chapel , dating from 1125 School of Pythagoras , dating from around 1200 History of medieval Arabic and Western European domes References [ edit ] Wikimedia Commons has media related to The Holy Sepulchre, Cambridge . Citations
|
|
1,130
|
6.56901687383°E
|
61.07747853122°N
|
Hopperstad Stave Church
|
https://en.wikipedia.org/wiki/Hopperstad_Stave_Church
| 8,529
|
Norway
|
You can help expand this article with text translated from the corresponding article in Norwegian . (March 2021) Click [show] for important translation instructions. View a machine-translated version of the Norwegian article. Machine translation, like DeepL or Google Translate , is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Norwegian Wikipedia article at [[:no:Hopperstad stavkirke]]; see its history for attribution. You may also add the template {{Translated|no|Hopperstad stavkirke}} to the talk page . For more guidance, see Wikipedia:Translation . Church in Vestland, Norway Hopperstad Stave Church Hopperstad stavkyrkje View of the church 61°04′39″N 6°34′08″E / 61.07747853122°N 6.56901687383°E / 61.07747853122; 6.56901687383 Location Vik Municipality , Vestland Country Norway Denomination Church of Norway Previous denomination Catholic Church Churchmanship Evangelical Lutheran History Status Parish church (former) Founded 11th century Consecrated c. 1130 Architecture Functional status Preserved Architect(s) Unknown (19th-century restoration: Peter Andreas Blix ) Architectural type Long church / Stave church Style Romanesque and Gothic Completed c. 1130 (895 years ago) ( 1130 ) Closed 1877 Specifications Capacity 30 Materials Wood Administration Diocese Bjørgvin bispedømme Deanery Sogn prosti Parish Vik Norwegian Cultural Heritage Site Type Church Status Automatically protected ID 84627 Hopperstad Stave Church ( Norwegian : Hopperstad stavkyrkje ) is a historic parish church of the Church of Norway in the village of Vikøyri in Vik Municipality in Vestland county. It was historically the church for the Hopperstad parish in the Diocese of Bjørgvin . The brown, wooden stave church was built during the 12th century. The church seats about 30 people. [ 1 ] [ 2 ] The stave church is assumed to have been built around the year 1130 and still stands at its original location. The church is one of the oldest stave churches still standing in Norway. The church is currently owned by the Society for the Preservation of Ancient Norwegian Monuments . [ 3 ] There is a replica of the Hopperstad Stave Church at the Heritage Hjemkomst Center in the city of Moorhead in the state of Minnesota in the United States . It was consecrated in 1998. The replica church is part of a larger complex that includes a museum and Scandinavian heritage center. [ 3 ] History [ edit ] The earliest existing historical records of the church date back to the year 1322, but the church was not new that year. The first church at Hopperstad was likely a small, wooden stave church that was built during the mid-11th century, possibly around the year 1060. This church was torn down and replaced with the present church during the early- to mid-12th century, possibly between the years 1130 and 1150. In 1982, archaeological evidence was found showing post holes for the large staves that support the idea of a previous church on the site. Again in 1997, a series of samples from the logs were collected for dendrochronological dating of the church. A total of seven samples produced an estimate for the construction ranging from 1034 to 1116 and resulted in no definite conclusion in the age of the church, however, this supports the idea that the materials from the old church were used in the construction of the present church. [ 4 ] [ 5 ] The medieval timbers of the church bear a significant number of graffiti, carved in runes . [ 6 ] No records exist as to what the medieval church actually looked like. There are a variety of sketches showing a nave and chancel . The church did not undergo any major changes until the 1600s. At that time the nave was lengthened to the west, and a bell-tower was added above the new extension. To the east, a new section was added and built out of logs. A new vestibule to the south with its own entrance was also added. In 1723, the church was sold into private ownership at the Norwegian church auction so the King could pay off debts from the Great Northern War . [ 5 ] The largest addition to the church came to the north with a log construction. This new part was named the "new church" ( nykirken ). The construction was finished during the 1700s (this area was torn down in around 1875). There are no known images of the interior from this time, but a story written by the priest Niels Dahl, who is assumed to have visited the church in 1824, describes the interior: The church has galleries at three levels around all of the walls, that the church [ had a rundt alle veggene og at den var lavloftet og tømret ] with staircases up to the galleries. And the font is placed under the medieval baldaquin . And the walls are painted by numerous quotes from the Holy Scripture in vivid colours. [ 7 ] In 1814, this church served as an election church ( Norwegian : valgkirke ). [ 8 ] [ 9 ] Together with more than 300 other parish churches across Norway, it was a polling station for elections to the 1814 Norwegian Constituent Assembly which wrote the Constitution of Norway . This was Norway's first national elections. Each church parish was a constituency that elected people called "electors" who later met together in each county to elect the representatives for the assembly that was to meet in Eidsvoll later that year. [ 8 ] [ 10 ] In the 1870s, the two neighboring Hove Church and Hopperstad Stave Church parishes were both in need of new churches. The issue was first raised by the local parish priest Jørgen Christian Andreas Grøner who complained about the size of the two churches. Both churches were old and small and due to their age, they were in dire need of improvements. The local villagers believed he was exaggerating and the private owners of the church did not want to spend money on the churches. Soon after, the local priest decided to no longer hold services at the Hopperstad Stave Church since it was so cold and drafty. Within a short period of time, it was decided to merge the two neighboring parishes into one larger parish. On 11 December 1875, a royal decree was issued that ordered the closure of both churches and the construction of a new church in Vikøyri for the newly created parish. In 1877, the new Vik Church was constructed and the two older churches were taken out of regular use and preserved as historical sites. [ 11 ] [ 5 ] In 1877, after about 700 years in use, the old church was abandoned. The church had been in very poor condition for many years and three years after its closure, the Society for the Preservation of Ancient Norwegian Monuments purchased the building in 1880. All of the "new" additions were torn down, leaving just the medieval building still standing. Using the Borgund Stave Church as a model, architect Peter Andreas Blix reconstructed the church between 1884 and 1891. During the reconstruction, carved sections were found beneath the floor which indicated that the new church replaced an older church, which was probably built in the latter half of the 11th century. During the reconstruction, the nave and choir were left alone and the apse , corridors, and roof were all rebuilt. All of the newly rebuilt areas were based on similar existing stave churches such as the Borgund Stave Church and the Urnes Stave Church . Since its completion in 1891, the church has been used primarily as a museum, although the parish will still use the church for special occasions. [ 3 ] [ 5 ] Present building [ edit ] The church is a triple-nave stave church of what is known as the Borgund-type. It has three portals , and the western portal is an excellent example of Middle Age wood carving. The motifs are of a romance character, often associated with European influence. The nave is a raised central room with an aisle around it, and the choir is apsidal and narrower than the nave. [ 7 ] The church contains an altar dedicated to the Virgin Mary , and 14th-century ciborium with a baldachin on the north side. The ciborium has four sculptured heads, that of Christ with a halo , a queen, a king, and a monk. The roof of the baldachin bears a painting of the birth of Christ. [ 7 ] Media gallery [ edit ] Exterior Main entrance Church exterior (2016) View from the east Hopperstad stave church Drawing of Hopperstad stave church from 1878 Hopperstad in 1885 before restoration work View of the church during the restoration work The church after the restoration Dragon head Portal Interior View of interior with cimborium Heads of baldachin in stave church Hopperstad Roof paintings of the baldachin in the stave church Hopperstad Aquarel from Hopeprstad stave church by Peter Andrias Blix, painted in 1882 Virgin Mary with the Child (formerly in the Hopperstad Stave Church, now in a museum) See also [ edit ] List of churches in Bjørgvin References [ edit ]
|
|
1,130
|
14.0453°E
|
67.05918734°N
|
Old Gildeskål Church
|
https://en.wikipedia.org/wiki/Old_Gildesk%C3%A5l_Church
| 288
|
Norway
|
Church in Nordland, Norway Church in Nordland, Norway Old Gildeskål Church Gildeskål gamle kirke View of the church 67°03′33″N 14°02′43″E / 67.05918734°N 14.0453°E / 67.05918734; 14.0453 Location Gildeskål Municipality , Nordland Country Norway Denomination Church of Norway Previous denomination Catholic Church Churchmanship Evangelical Lutheran History Status Parish church Founded 12th century Consecrated c. 1130 (895 years ago) ( 1130 ) Architecture Functional status Preserved Architectural type Long church Completed c. 1130 (895 years ago) ( 1130 ) Closed 1881 (144 years ago) ( 1881 ) Specifications Capacity 275 Materials Stone Administration Diocese Sør-Hålogaland Deanery Bodø domprosti Parish Gildeskål Norwegian Cultural Heritage Site Type Church Status Automatically protected ID 162733 Old Gildeskål Church ( Norwegian : Gildeskål gamle kirke ) is a historic parish church of the Church of Norway in Gildeskål Municipality in Nordland county, Norway . It is located just north of the village of Inndyr . Before 1881, it was the main church for the Gildeskål parish which is part of the Bodø domprosti ( deanery ) in the Diocese of Sør-Hålogaland . The white, stone church was built in a long church style in the 12th century. The church seats about 275 people. [ 1 ] [ 2 ] History [ edit ] The earliest existing historical records of the church date back to the year 1432, but the church was likely built around the year 1130,possibly by King Øystein . The medieval stone church originally had a rectangular nave and a narrower and almost square chancel with a lower roof line. At some point, the east and west gable walls were rebuilt as well as the south wall. [ 3 ] Around the year 1710, the church had a large fire. Afterwards, the church was repaired and an addition was added to the south, making the church half- cruciform . All of the interior furniture and decor was destroyed in the fire as well. The pulpit was painted by Gottfried Ezekiel (ca. 1719-1798). He received a commission as a painter in Bergen during 1744 and starting in 1751 he arrived in northern Norway, where he painted a number of church altarpieces. Gottfried Ezekiel also painted the altarpiece that stands today in the new Gildeskål Church . [ 3 ] [ 4 ] In 1814, this church served as an election church ( Norwegian : valgkirke ). [ 5 ] Together with more than 300 other parish churches across Norway, it was a polling station for elections to the 1814 Norwegian Constituent Assembly which wrote the Constitution of Norway . This was Norway's first national elections. Each church parish was a constituency that elected people called "electors" who later met together in each county to elect the representatives for the assembly that was to meet at Eidsvoll Manor later that year. [ 5 ] [ 6 ] In 1851, a new law was passed that said that all rural churches had to be able to fit at least 30% of the parish members in the church building. Since this church could only seat about 275 people, it was too small, therefore a new church had to be built for the parish. It was decided that the new church would be built on the same property, about 100 metres (330 ft) west of the old church. The new Gildeskål Church was completed in 1881 and it seated about 750 people. Since that time, the old church was closed and turned into a museum. [ 7 ] [ 8 ] Media gallery [ edit ] Exterior view Exterior (c. 1880) View of the church grounds Altar Ship Pulpit Pipe organ Enclosed pew Pews See also [ edit ] List of churches in Sør-Hålogaland References [ edit ]
|
|
1,130
|
1.74167°W
|
51.07083°N
|
Clarendon Palace
|
https://en.wikipedia.org/wiki/Clarendon_Palace
| 12,472
|
United Kingdom
|
Medieval castle ruins in England Ruins of Clarendon Palace Ruins of King Johns Palace at Clarendon , engraving after William Stukeley , 1723 Clarendon Palace is a medieval ruin 2 + 1 ⁄ 4 miles (3.6 km) east of Salisbury in Wiltshire, England. The palace was a royal residence during the Middle Ages , and was the location of the Assize of Clarendon which developed the Constitutions of Clarendon . It now lies within the grounds of Clarendon Park . Roman era [ edit ] There is evidence that the Romans used Clarendon Forest on a regular basis. A Roman road connecting to Old Sarum Iron Age hillfort passes east–west approximately 2 miles (3.2 km) north of Clarendon Forest. Archaeological finds suggest that the area was relatively densely populated in the Roman period. [ 1 ] Hunting lodge [ edit ] Clarendon Forest was probably in use as a royal hunting ground in the late Saxon period. It is also documented that the area was sometimes used as a military gathering-place from 1070 onwards. The name Clarendon is first recorded in 1164, and may derive from an Old English form *Claringa dūn , meaning "hill associated with Clare". [ 2 ] A person named Clare is recorded as a witness in a charter dating from the reign of King Eadred . [ 2 ] The Norman kings also visited it, and the park was probably formally defined with deer leaps in the early 12th century by Henry I . Within its boundaries, the park was laid out with lawns, coppices, meadows and wood-pasture. By 1130 a hunting lodge existed within the park. Residence and palace [ edit ] Both Henry II and Henry III invested heavily in the property and converted it into a royal residence and palace. Considerable building work took place in the early-to-mid 13th century, including the construction of King's Chapel and the Antioch chamber under the supervision of Elias of Dereham , the ecclesiastical administrator who also oversaw the building of Salisbury Cathedral . In 1164, Henry II framed the Constitutions of Clarendon here, which attempted to restrict ecclesiastical privileges and place limits on Papal authority in England. A memorial erected on the site in 1844 stated: The spirit awakened within these walls ceased not until it had vindicated the authority of the laws and accomplished the Reformation of the Church of England. [ 3 ] At its height, the palace consisted of several buildings surrounding a central courtyard and contained inside a small wall. The palace was rectangular with dimensions of roughly 240m by 80m totalling over 5 acres (20,000 m 2 ) and included terraced gardens. Margaret Howell writes: The site of the royal palace at Clarendon ... has been the subject of a recent detailed archaeological investigation, which helps to create a lively impression of [Queen Eleanor of Provence 's] accommodation there in the early 1250s, shortly after a major programme of enlargement and refurbishment. Many of the details come from the chancery rolls. By 1252 Eleanor had a compact suite of apartments at Clarendon, comprising a hall, a chapel, three chambers and a wardrobe. They were situated on two floors. The rooms were spacious, two of them extending to a length of 40 feet, and the amenities of her chambers had been greatly improved by the adjacent construction of a two-storey building providing access to "a fair privy chamber, well vaulted on both floors". The focal point of the queen's hall was an imposing new fireplace with double marble columns on each side and an overmantel carved with representations of the twelve months of the year. The windows of her rooms were glazed, perhaps mainly in plain glass or the delicate silver-grey grisaille patterns, but also with some figured glass, which would be coloured. The windows of her hall overlooked a garden. The chapel, on the upper floor, had a marble altar, flanked by two windows, which could be opened and closed, and above the altar was a crucifix, with the figures of Mary and John. Religious imagery was not confined to the chapel; in the window of one of the queen's chambers there was a representation of the Virgin and Child with the kneeling figure of an earthly queen, presumably Queen Eleanor herself, with an Ave Maria scroll. ... The walls of the chapel were initially painted with scenes from the life of St. Katharine, but later redecorated "with symbols and stories as arranged". One distinctively up-to-date feature of these rooms were [ sic ] the tiled floors, and the remaining portion of one of these, lifted in the post-war excavations at Clarendon, can be seen on the far wall in the medieval ceramics room of the British Museum. The pavement dates from 1250–2 and was laid in one of Eleanor's ground-floor chambers. Divided into panels of patterned and figured tiles, glowing in muted shades of gold, grey, and warm pink, its power to evoke is incomparable. [ 4 ] It was in 1453 at Clarendon Palace that King Henry VI first started to show signs of insanity. Usage of the Palace declined and by 1500 the building was no longer being maintained, and in 1574 it was described as a simple hunting lodge. In that year, Elizabeth I visited the site, but the buildings were in such poor condition that she had to dine in a temporary "banquett house". [ 5 ] Confiscation and decay [ edit ] In 1649 the execution of Charles I resulted in the confiscation of Clarendon Palace by Parliament . Following the restoration of Charles II in 1660, the park passed briefly into the hands of George Monck , and then in 1664 to Edward Hyde , who (apparently in anticipation of acquiring the estate) had already, in 1661, taken the title Earl of Clarendon. A new mansion, Clarendon Park , was built in a classical design elsewhere in the park in the early 18th century. [ 6 ] Abandoned, Clarendon Palace deteriorated, and by the 18th century the ruins survived only as a romantic "eye-catcher" in the landscape, and as simple farm buildings. Nikolaus Pevsner wrote in 1963: ... today Clarendon is a tragedy. A footpath leads into the wood. One threads one's way through elder and wild clematis. A solitary old iron notice-board of the Ministry of Works indicates that one has arrived. One crag of walling stands up. All the rest is back to its sleeping beauty. [ 6 ] A series of campaigns of archaeological excavation were undertaken at the site between 1933 and 1939 by the Finnish art historian Tancred Borenius . Further excavations were carried out in 1957, 1964, 1965 and in the 1970s and 1980s. A tile - kiln discovered on the site has been reconstructed and is now at the British Museum . All that is visible now above ground level is the one end wall of the Great Hall . The site is a scheduled monument. [ 7 ] References [ edit ]
|
|
1,130
|
8.02167°W
|
31.61333°N
|
Menara Gardens
|
https://en.wikipedia.org/wiki/Menara_Gardens
| 12,596
|
Morocco
|
Public garden in Marrakech, Morocco For other uses, see Menara (disambiguation) . Menara Gardens Water reservoir and pavilion of the Menara Location Marrakech , Morocco Type historic garden/orchard Beginning date 1157 CE The Menara Gardens ( Arabic : حدائق المنارة ) are a historic public garden and orchard in Marrakech , Morocco . They were established in the 12th century (circa 1157) by the Almohad Caliphate ruler Abd al-Mu'min . Along with the Agdal Gardens and the historic walled city of Marrakesh, the gardens have been listed as UNESCO World Heritage Site since 1985. [ 1 ] The gardens are laid out around a central water basin and reservoir , next to which is a pleasure pavilion dating in its current form from the 19th century. The reservoir and its pavilion, often framed in pictures against the background of the High Atlas Mountains to the south, are considered one of the iconic views and symbols of Marrakesh. [ 2 ] : 282 Etymology [ edit ] View from the Menara Gardens towards the Kutubiyya minaret to the east; the minaret has been suggested as one possible origin of the garden's name, Menara [ 3 ] The origin of the name Menara for the gardens is not firmly established. The name's first appearance (as Sahrij al-Manāra ) in historical sources is in 1579, during the Saadian period. [ 3 ] : 196 [ 4 ] The Arabic word menara (منارَة) variously means " minaret ", "lighthouse", "lantern/beacon" or other elevated structures of the kind. It is often suggested that this refers to the two-story pavilion standing on the edge of the main reservoir. However, other historians, such as Gaston Deverdun, have suggested that the name could date from as far back as the Almohad period (long before the current pavilion's construction) and that it may be an allusion to the minaret of the Kutubiyya Mosque to the northeast, which was founded and begun under Abd al-Mu'min's reign and with which the gardens were more or less aligned. [ 5 ] [ 3 ] : 197–198 History [ edit ] The tradition of creating gardens on the outskirts of the city began early with the Almoravids who founded Marrakesh in 1070. Multiple gardens, estates, and artificial lakes were established in multiple sites outside the city walls , often referred to as buḥā'ir – singular Buḥayra – an Arabic word meaning "little sea", presumably in reference to the artificial lakes and large water basins. These garden estates continued to exist and develop under the Almohads who conquered the city in the 12th century. [ 6 ] [ 7 ] The Menara Gardens were first established by Abd al-Mu'min , the Almohad ruler who conquered the city, in 1157. [ 4 ] [ 8 ] [ 7 ] [ 9 ] This dating has been deduced by scholars from historical chronicles describing Abd al-Mu'min's construction of an enormous garden estate west of the city which contained two large water reservoirs. [ 3 ] [ 2 ] [ 4 ] One of these reservoirs is the current one seen at the gardens today (although it was probably slightly modified in later restorations [ 10 ] ). The second reservoir in question is believed to be the Sahrij al-Bgar (or Sahrij al-Baqar ), located outside and southeast of the Menara Gardens today, a short distance west of Bab Ighli and the Agdal Gardens. [ 3 ] [ 10 ] Its name, meaning "basin of the cows", may be a reference to either a nearby cattle market at the time or to the raising of bulls for bullfighting which took place here under the later Caliph al-Mustansir . [ 11 ] : 197 The Sahrij al-Bgar is no longer in use and lies empty today, but was probably part of the same garden estate at the time. This vast estate was in turn enclosed by a 6-mile-long wall (absent today). The Menara's location to the west of the city walls is also consistent with the fact that Abd al-Mu'min still used the former Almoravid palace, the Ksar al-Hajjar (located next to the present-day site of the Kutubiyya Mosque), as his residence. The gardens are also perfectly aligned with Bab al-Makhzen , the western gate of the city, near the palace, which Abd al-Mu'min would have likely used to go in and out of the city. [ 2 ] : 246 The later palaces of the Kasbah , founded by the Almohads and to which the Agdal Gardens are connected today, were not yet built. The Agdal Gardens to the south of the city, in turn, were traditionally believed to date from Abd al-Mu'min's time as well but have been more conclusively dated to the reign of his successor Abu Ya'qub Yusuf . [ 3 ] [ 2 ] [ 7 ] In early sources the garden and its location was also called Shuntululya . [ 9 ] [ 7 ] The gardens were likely designed by an engineer from Malaga ( Al-Andalus ) named Hajj al-Ya'ish, who was also responsible for designing other mechanical projects under Abd al-Mu'min such as the automated maqsura and minbar of the Kutubiyya Mosque . [ 9 ] One historical source, the Ḥulal al-Mawshiyya, describes how the estate's second water basin (the Sahrij al-Bgar ) was used at one point to train the ḥuffāẓ (singular ḥāfiẓ ; meaning " Qur'an reader ") how to swim. [ 3 ] : 197 [ 7 ] The gardens and the city underwent a period of decline after the fall of the Almohads in the 13th century, when the Marinids moved the capital to Fez. When the Saadian dynasty made Marrakesh the capital again in the 16th century, they also restored the gardens of the city. [ 2 ] : 282 [ 4 ] It was the Saadians who initially built a pleasure pavilion overlooking the water reservoir. [ 2 ] [ 5 ] [ 4 ] However, the gardens owe their current condition to the reigns of the Alaouite sultans Moulay Abd ar-Rahman (ruled 1822–1859) and his son Muhammad IV (ruled 1859–1873), who restored and replanted both the Menara and Agdal gardens. Under the reign of Abd ar-Rahman, his son Muhammad was viceroy in Marrakesh and was responsible for carrying a part of the works, which then continued when Muhammad himself became sultan after his father. In addition to replanting the orchards and restoring the city's water supply system, Muhammad also built the current pavilion on the ruins of the old Saadian one, completed in 1870. [ 3 ] : 531 [ 12 ] [ 5 ] [ 4 ] [ 13 ] (Note: a smaller number of sources [ 2 ] [ 4 ] cite the earlier 18th-century Alaouite sultan Muhammad ibn Abdallah , who restored and built many other structures in Marrakesh, as the one who restored the Menara Gardens, although the pavilion's construction is precisely dated thanks to an inscription on the archway of its balcony. [ 3 ] [ 13 ] [ 4 ] ) Up until the early 20th century the gardens were also used to raise ostriches, in line with a long tradition of sultans using wild animals to impress and entertain visitors. [ 14 ] Description [ edit ] Geography [ edit ] The gardens are located on a topographically flat area west of the city, outside the historic city walls and very close to the Menara Airport . Today they still consist of the large central water basin, its historical pavilion, and a very large orchard around it. Together they cover a quadrilateral area about 1200 meters long (from northwest to southeast) and between 720 and 800 meters wide (from southwest to northeast). [ 5 ] [ 4 ] The water reservoir has a rectangular shape 195 meters long and 160 meters wide. [ 5 ] Orchards [ edit ] Olive tree plantations in the gardens Royal Moroccan gardens like the Menara were designed for a primarily productive agricultural purpose, with its recreational purpose coming second. [ 14 ] While there have not been many comprehensive archeological investigations of these gardens, historical texts provide some information about what was planted here and in other gardens like the Agdal. Throughout their history they were planted similar types of trees and crops, mostly fruit and olive trees . [ 14 ] Today the orchard still consists mostly of olive trees and to a lesser extent fruit trees and cypress trees. The trees are planted in a regular 10-meter grid. [ 5 ] Irrigation and water supply [ edit ] The orchards are watered via an irrigation system which required regular maintenance. During periods of neglect and decline in the city's history, they were prone to desertification . The creation of large water basins was designed to store large amounts of water which could be used to water the gardens year-round, even during the winter when rivers and other sources were typically dry. Water was brought to the city and to the gardens by a network of khettara s : an ancient method where underground channels were dug at a steady gradient from lowland areas to tap directly into the phreatic table of upland areas (in this case the nearby High Atlas Mountains ). [ 2 ] [ 14 ] The water reservoir of the Menara is in turn built above ground so that the surrounding orchards, located at the lower ground level, could be watered with the help of gravity. [ 5 ] The walkway around the reservoir is reached by various stairs. At the foot of the stairs on the northeast side is a small ornamental octagonal basin and former fountain. [ 14 ] The pavilion [ edit ] The northern facade of the pavilion The 19th century pavilion or menzeh , built in stone, [ 13 ] [ 4 ] has a rectangular floor plan, two floors, and is topped by a pyramidal green-tiled roof. It has been described as a classic example of royal pavilion architecture in Morocco during the Alaouite period. [ 3 ] : 532 [ 4 ] [ 12 ] The first floor, which was functional and used for domestic purposes, consists of a large room between four heavy pillars, plus an exterior triple-arched portico that projects northwards and opens onto the edge of the artificial lake. An entrance doorway is also located on the south side of the building. The upper floor is reached via a steep straight staircase. This upper floor consists of a large square room, with a low rectangular door that leads to a rectangular balcony on its north side on top of the projecting ground-floor portico. The low door was possibly made this way to prevent public onlookers below from seeing inside the building when it was open. The staircase to the upper floor also continues to the roof, where a much smaller balcony on the south side provided views over the orchards and towards the Atlas Mountains. The pavilion is also set inside its own small garden area enclosed by its another wall, separating it from the rest of the public grounds around it. [ 3 ] [ 13 ] [ 4 ] As with other Alaouite structures of the 18th-19th centuries, the decoration of the pavilion is relatively austere compared to earlier periods of Moroccan architecture . On the exterior, the corners and edges of the pavilion's walls are painted to look like brickwork , while geometric and epigraphic decoration are painted around the southern entrance doorway and around some of the windows. The door to the northern balcony overlooking the water is framed on the outside by a large, prominent, semi-circular blind arch highlighted with a keystone motif. The spandrels of the arch are painted with arabesque motifs, above which a narrow horizontal band is filled by an Arabic inscription that includes the completion date of the building (1286 AH ). All the painted decoration is executed in ochre colours on a layer of plaster that covers the outside and inside of the building. The interior chambers of the building have decoration consisting of painted lines that highlight the groin vault ceilings, stucco carved and painted with geometric patterns around the windows and doors, and painted wood ceilings and door leaves. [ 3 ] [ 13 ] [ 4 ] [ 12 ] [ 5 ] View of the pavilion and its surrounding walled enclosure on the edge of the reservoir The inner garden enclosure around the pavilion The southern entrance to the pavilion Painted decoration around the blind archway over the northern balcony Interior of the pavilion, with stucco decoration around a window Painted decoration around a vaulted ceiling Painted wood ceiling in the pavilion See also [ edit ] Buhaira Gardens Landmarks of Marrakesh References [ edit ] Wikimedia Commons has media related to Menara Garden .
|
|
1,131
|
14.02389°E
|
38.03972°N
|
Cefalù Cathedral
|
https://en.wikipedia.org/wiki/Cefal%C3%B9_Cathedral
| 24,186
|
Italy
|
Cathedral in Sicily Cathedral-Basilica of Cefalù Duomo di Cefalù The façade of the cathedral Religion Affiliation Roman Catholic Church Province Diocese of Cefalù Ecclesiastical or organizational status Cathedral Year consecrated 1267 Status Active Location Location Cefalù, Italy Geographic coordinates 38°02′23″N 14°01′26″E / 38.03972°N 14.02389°E / 38.03972; 14.02389 Architecture Type Church Style Norman-Arab-Byzantine Groundbreaking 1131 Completed 1240 UNESCO World Heritage Site Official name: Arab-Norman Palermo and the Cathedral Churches of Cefalù and Monreale Type Cultural Criteria ii, iv Designated 2015 (39th session ) Reference no. 1487-008 State Party Italy Region Europe and North America The Cathedral of Cefalù ( Italian : Duomo di Cefalù ) is a Roman Catholic basilica in Cefalù , Sicily . It is one of nine structures included in the UNESCO World Heritage Site known as Arab-Norman Palermo and the Cathedral Churches of Cefalù and Monreale . The cathedral was erected between 1131 and 1240 in the Norman architectural style, the island of Sicily having been conquered by the Normans in 1091. [ 1 ] According to tradition, the building was erected after a vow made to the Holy Saviour by the King of Sicily, Roger II , after he escaped from a storm to land on the city's beach. The building has a fortress-like character and, seen from a distance, it dominates the skyline of the surrounding medieval town. It made a powerful statement of the Norman presence. History [ edit ] Cefalù Cathedral within the town The cathedral was built in a long-populated area, as attested by the presence of a Roman road and a Paleo-Christian mosaic. Construction began in 1131, the apse mosaics were begun in 1145, and the sarcophagi that Roger II provided for his tomb and that of his wife were put in place the same year. [ 2 ] After 1172 the church suffered a period of decline. In 1215 Frederick II of Hohenstaufen moved the two sarcophagi to the Cathedral of Palermo . Construction of the cathedral was resumed soon after, the façade being completed in 1240. The cathedral was consecrated in 1267 by Rodolphe de Chevriêres , Bishop of Albano . In 1472 a portico , by Ambrogio da Como , was added between the two towers of the facade. Description [ edit ] Architecture [ edit ] Lateral view The cathedral is preceded by a large terraced parvis , which was originally a cemetery. According to tradition, it was created with earth brought from Jerusalem , which was believed to have qualities that caused the rapid mummification of corpses. [ citation needed ] The façade is characterized by two large Norman towers with mullioned windows, each surmounted by a small spire added in the 15th century. Each spire is different: one has a square plan surrounded by flame-shaped merlons , the latter symbolizing the Papal authority and the mitre ; the other has an octagonal plan and Ghibelline merlons, symbolizing the royal and temporal power . The 15th-century portico has three arches, the two outer being pointed, supported by four columns and vaulting ribs . Under the portico is the Porta Regum (Kings' Door), with a finely decorated marble portal flanked by wall paintings. The interior of the cathedral is on the Latin cross plan, divided into a nave and two aisles by arcades of antique columns: fourteen in pink granite and two in cipolin . The bases and capitals are from the 2nd century AD. Two large capitals supporting the triumphal arch of the nave were probably made by a Sicilian workshop in the mid-12th century. Interior view towards the chancel The roof of the nave was lowered, as can be seen from the exterior of the building. The transept is higher than both the nave and aisles. While parts of the building are barrel-vaulted and parts have an open timber roof, the presbytery has a ribbed vault of stone. Beyond the crossing, the church is unusual in combining a style that is essentially Romanesque in its massive simple forms with the Gothic pointed arch . This feature is also seen in Monreale Cathedral . It is a forerunner of the Gothic style which was to develop in the region of Paris within a few years. The church has three apses , an arrangement also seen in Sicily at Monreale Cathedral . The two lower side apses have the upper tiers of the exterior decorated by blind arcading of small crossed arches and sculpted corbels , also seen used extensively at Monreale. The corbels date from 1215 to 1223 and portray masks, heads of animals, and human figures in contorted positions. The corbels of the central apse are more recent. The central apse originally had three large ocular windows, [ 3 ] which were later closed to give space for the mosaic, and a larger central window of ogival shape. Two other pairs of circular windows are located at the transept's ends. Cloister [ edit ] The cathedral has a cloister that can be entered from within the church. The arcade has pointed arches, each of which rests on slender, paired columns. The form is not different from that of Spanish and some French cloisters; the composite capitals of the coupled columns are Norman and other more generically Romanesque in their motifs. This cloister is the model for the successive Norman cloisters of Sicily, in particular that of the Monreale . Artwork [ edit ] Presbyterium mosaic [ edit ] Christ Pantokrator . Virgin Mary with four archangels . It was probably planned that the entire church be decorated in mosaic , but this was completed only in the presbyterium area. Mosaic still covers the apse and about half of the side walls. Roger II brought masters in the technique of mosaic from Constantinople . They adapted their traditional Byzantine decorative art to an architectural structure that was of northern European origin. The dominant figure of the decorative scheme is the bust of Christ Pantokrator , portrayed on the semi-dome of the apse with a hand raised in Benediction . In his left hand he carries the Gospel of John , in which can be read, in Greek and Latin: "I am the light of the world, who follows me will not wander in the darkness but will have the light of life" ( John , 8:12 ). In the upper tier of the apsidal wall is depicted the Blessed Virgin Mary, her hands raised in obsecration, flanked by four archangels . In the second and third tiers, on either side of the central window, are figures of apostles and evangelists , placed according to a planned theological programme. The mosaic decoration extends into the presbyterium, with the side walls showing figures of prophets and saints. On the right wall, adjacent to the royal throne, are royal figures, while on the left side, adjacent the bishop's throne, are priestly figures. Each figure is accompanied by an inscription, in Greek or Latin, describing the character portrayed. The decoration of the cross-vaulted ceiling depicts four cherubim and four seraphim . The chief figures, that of Christ Pantokrator and the Virgin Mary, are clothed in blue, given luminosity by a background of gold tiles. The work is of the highest order, displaying elegance in the draping of the figures' robes and in the sensitivity of their faces and gestures. It is considered the finest Byzantine mosaic in Italy and comparable to other fine Late Byzantine work from Constantinople. [ citation needed ] The Byzantine mosaic decoration was completed before 1170. The lower part and the side walls of the presbyterium were not completed until the 17th century. They covered preceding paintings of which scarce traces remain today. Other artwork [ edit ] The cathedral at night Of the original painted decoration, a figure of Urban V from the late 14th century, on a column on the left aisle; and a "Madonna enthroned" from the 15th century, in the left arm of the transept, remain. The basilica houses several funerary monuments, including a late Antique sarcophagus, a medieval one, and the notable sepulchre of the Bishop Castelli of the 18th century. The 12th-century baptismal font, carved from a single block of stone, is decorated with four small sculpted lions. The church also houses a canvas of the Madonna from Antonello Gagini 's workshop (16th century) and a painted wooden cross by Guglielmo da Pesaro (1468). The organ is a large two-manual instrument with detached console and plain pipework, sitting above a panelled wooden case. The nave's ceiling has a painted decoration with busts, fanciful animals and other motifs, probably the work of Arabic craftsmen. Starting in 1985, the Palermo artist Michele Canzoneri was commissioned and has installed 72 modern, abstract, stained-glass windows based on episodes from the Old and New Testaments. These have aroused some controversy for their style. [ 4 ] Palæo-Christian mosaic [ edit ] Excavations in the cathedral area have brought to light parts of a 6th-century polychrome mosaic. They depict a dove drinking, parts of two other birds, two small trees, and a lily-shaped flower, enclosed in a frame with ogival and lozenge motifs. This mosaic belonged probably to a pre-existing Byzantine basilica. This area of Cefalù was frequented at least up to the 8th century, when it was an episcopal see . See also [ edit ] Cathedral of Monreale Palazzo dei Normanni Arab-Norman Palermo and the Cathedral Churches of Cefalù and Monreale References [ edit ]
|
|
1,132
|
1.58139°W
|
54.10972°N
|
Fountains Abbey
|
https://en.wikipedia.org/wiki/Fountains_Abbey
| 53,044
|
United Kingdom
|
Ruined Cistercian monastery in Yorkshire, England Fountains Abbey and Studley Royal Water Garden Fountains Cistercian Abbey: River Skell, Tower & Chapel of Altars Location Near Aldfield , North Yorkshire , England Coordinates 54°6′35″N 1°34′53″W / 54.10972°N 1.58139°W / 54.10972; -1.58139 Built 1132 [ 1 ] Governing body National Trust Owner National Trust Website https://www.nationaltrust.org.uk/fountains-abbey-and-studley-royal-water-garden UNESCO World Heritage Site Official name Studley Royal Park including the Ruins of Fountains Abbey Type Cultural Criteria i, iv Designated 1986 (10th session ) Reference no. 372 Country United Kingdom Region Europe and North America Listed Building – Grade I Official name Fountains Abbey, with Ancillary Buildings Designated 11 June 1986 Reference no. 1149811 [ 2 ] Location of Fountains Abbey in North Yorkshire Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England . It is located approximately 3 miles (5 km) south-west of Ripon in North Yorkshire , near to the village of Aldfield . Founded in 1132, the abbey operated for 407 years, becoming one of the wealthiest monasteries in England until its dissolution , by order of Henry VIII , in 1539. In 1983, Studley Royal Park including the ruins of Fountains Abbey was purchased by the National Trust . The abbey is maintained by English Heritage . Foundation [ edit ] After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey in York , 13 monks were expelled, among them Saint Robert of Newminster . They were taken under the protection of Thurstan , Archbishop of York , [ 3 ] who provided them with land in the valley of the River Skell , a tributary of the Ure . The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. [ 4 ] The six springs that watered the site inspired the monks to give it the name of Fountains. [ 5 ] [ 6 ] After enduring a harsh winter in 1133, the monks applied to join the Cistercian order, which since the end of the previous century had been a fast-growing reform movement and by the beginning of the 13th century had more than 500 houses. In 1135 Fountains became the second Cistercian house in northern England, after Rievaulx . The monks of Fountains became subject to Clairvaux Abbey in Burgundy, which was under the rule of St Bernard . Under the guidance of Geoffrey of Ainai , a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice . [ 7 ] [ 8 ] [ 9 ] Consolidation [ edit ] According to archaeologist Glyn Coppack , after Henry Murdac was elected abbot in 1143 the small stone church and timber claustral buildings were replaced; the new church was similar in plan to the church at Vauclair Abbey that Murdac had previously commissioned. [ 10 ] Within three years an aisled nave had been added to the stone church, and the first permanent claustral buildings, built in stone and roofed in tile, had been completed. [ 11 ] In 1146 an angry mob, annoyed at Murdac because of his role in opposing the election of William FitzHerbert as archbishop of York , attacked the abbey and burned down all but the church and some surrounding buildings. [ 12 ] The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming archbishop of York. [ 13 ] He was replaced first by Maurice, Abbot of Rievaulx (1147-8), then, on the resignation of Maurice, by Thorald (1148–50). Thorald was forced by the now archbishop, Henry Murdac, to resign after two years in office. [ 14 ] The next abbot, Richard, who held the post until his death in 1170, restored the abbey's stability and prosperity. During his 20 years as abbot he supervised an extensive building programme that involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. At his death, the chapter house was completed, and the new church almost finished. [ 15 ] The work was continued by his successor, Robert of Pipewell . [ 16 ] [ 17 ] Pipewell was considered a benevolent and virtuous abbot by William Grainge, writing in the nineteenth century. [ 18 ] The next abbot was William of Newminster , a noted ascetic , who presided over the abbey from 1180 to 1190. [ 19 ] He was succeeded by Ralph Haget , who had entered Fountains at the age of 30 as a novice after pursuing a military career. [ 20 ] Prior to his abbacy at Fountains, from 1182 to 1190/1 he was abbot of Kirkstall Abbey . [ 20 ] During the European famine of 1194 the abbey provided support for six months to local people in the form of food, shelter and spiritual care. [ 21 ] Famine was joined by the spread of disease, and the abbey helped those who needed treatment. [ 22 ] During the late thirteenth and early fourteenth centuries, the north of England was subject to increased taxation, Fountains Abbey included. According to William Grainge , writing in Annals of a Yorkshire Abbey: A Popular History of the Famous Monastery of Fountains, the taxation of temporal goods had reduced from £343 in 1292, to £243 in 1318. Grainge interprets this reduction as evidence for detriment to the estate of the abbey. By 1330s, the abbey was no longer working to surplus, but having to borrow money. [ 18 ] During the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), [ 23 ] John of Hessle (1211–1220) [ 24 ] and John of Kent (1220–1247). [ 23 ] These three abbots managed to complete another expansion of the abbey's buildings, which included enlarging the church and building an infirmary. [ 22 ] Difficulties [ edit ] By the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, [ 25 ] and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. [ 26 ] The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous. [ 27 ] [ 28 ] A further complication arose as a result of the Papal Schism of 1378 –1409. Fountains Abbey and other English Cistercian houses were told to break off contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England. They became increasingly involved in internecine politics. [ 28 ] In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon - Abbot of Meaux and Roger Frank a monk of Fountains, were locked in conflict until 1416 when Ripon was finally appointed, ruling until his death in 1434. [ 29 ] Fountains Abbey - Huby's Tower Fountains regained some stability and prosperity under abbots John Greenwell (1442–1471), [ 30 ] Thomas Swinton (1471–1478), [ 31 ] and John Darnton (1478–1495), [ 32 ] who undertook some much needed restoration of the fabric of the abbey, including notable work on the church. During Greenwell's abbacy, he reduced the debts of the abbey by 100 marks, and survived what was characterised as a poisoning attempt by a monk called William Downom. [ 30 ] Swinton kept a detailed 'Memorandum Book', which provides exceptional detail on the life of the abbey during his abbacy. [ 31 ] Marmaduke Huby (1495–1526) expanded the number of monks from twenty-two to fifty-two, and undertook a building programme which included a new tower at the north end of the transept and extending the infirmary. [ 33 ] Known to visitors as Huby's Tower, it was decorated with the abbot's insignia, as well as religious texts. [ 34 ] At Abbot Huby's death he was succeeded by William Thirsk, who was accused by the royal commissioners of immorality and inadequacy, was dismissed as abbot, retired to Jervaulx Abbey, and was later hanged for his involvement in the Pilgrimage of Grace . [ 35 ] He was replaced by Marmaduke Bradley , a monk of the abbey who had reported Thirsk's supposed offences and testified against him. [ 36 ] Furthermore Bradley paid 600 marks to essentially buy the abbacy for himself. [ 37 ] In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the dissolution of the monasteries . [ 36 ] Abbots of Fountains [ edit ] Abbots of Fountains [ 38 ] Name Dates Name Dates Name Dates Name Dates Richard 1132–39 John of Hessle 1211–20 Henry Otley [ 39 ] 1289?–90 John Ripon 1416–34 Richard (II) 1139–43 John of Kent 1220–47 Robert Thornton c. 1289–90 Thomas Paslew 1434–43 Henry Murdac 1144–47 Stephen of Easton 1247–52 Robert Bishopton c. 1290/1–1311 John Martin 1442 Maurice 1147–48 William of Allerton 1252–58 William Rigton 1311–16 John Greenwell 1442–71 Thorold 1148–50 Adam 1258–59 Walter Coxwold 1316–36 Thomas Swinton 1471–78 Richard (III) 1150–70 Alexander 1259–65 Robert Copgrove 1336–46 John Darnton 1479–95 Robert of Pipewell 1170–80 Reginald 1267 Robert Monkton 1346–69 Marmaduke Huby 1495–1526 William of Newminster 1180–90 Peter Ayling 1275–79 William Gower 1369–84 William Thirsk 1526–36 Ralph Haget 1190–1203 Nicholas 1279 Robert Burley 1383–1410 Marmaduke Bradley 1536–39 John of York 1203–11 Adam Ravensworth 1280–84 Roger Frank 1410 Architecture [ edit ] Interior of the abbey church looking down the nave The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell. The inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, resulting in deviations from the strict Cistercian type. Outside the walls were the abbey's "home granges ". [ 40 ] The original abbey church was built of wood and "was probably" two storeys high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c. 1170 . [ 41 ] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. [ 42 ] The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11 and carried on by his successor, terminates, like that of Durham Cathedral , in an eastern transept, the work of Abbot John of Kent, 1220–47. [ 43 ] Similarities to the choir at Beverley Minster have been drawn by architectural historian Lawrence Hoey. [ 44 ] The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto: Soli Deo Honor et Gloria . [ 34 ] The sacristry adjoined the south transept. [ 45 ] The cloister , which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister, with the monks' dormitory above; along the cloister's southern walk are, from east to west, the warming house with muniment room above, the refectory, and the kitchens. Parallel with the western walk is an immense, vaulted substructure known as the cellarium (divided into sections serving as cellars and store-rooms, and with the lay brothers' refectory at its southern end, next to the kitchens), which supported the dormitory of the conversi ( lay brothers ) above. This building extended across the river and at its south-west corner were the latrines , built above the swiftly flowing stream. [ 46 ] View of Fountains Abbey looking from west to south The infirmary is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell. It was built in the mid-12th century as a modest single-storey structure, then, from the 14th century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and large fireplaces. The great hall was an expansive room 171 by 69 feet (52 by 21 m), [ 1 ] "one of the largest aisled halls ever built in mediaeval England". [ 47 ] The infirmary had its own oratory or chapel, 46 + 1 ⁄ 2 -by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m). To the west of the cloister was the lay brothers' infirmary, and beyond that the two guest houses still visible, and a large guest hall to the north of them. Only the base of a pier and a table leg survive of the guest hall, but its plan has been established by geophysical survey. [ 48 ] To the east of the abbey, north of the infirmary, is the monks' cemetery. It was long known to exist, but its extent and arrangement were only discovered in 2016, when a partnership between the National Trust, the University of Bradford , Geoscan Research, Magnitude Surveys and Guideline Geo used ground penetrating radar which discovered several hundred graves in a careful and orderly arrangement. [ 49 ] Ground plan of Fountains Abbey as understood in the early 20th century. The buildings labelled "Abbots House" are now known to be the infirmary: the abbot's house was the buildings between the "cloister passage" and the river. The building to the west of the cloister labelled "Infirmary" is now known to have been the lay brothers' infirmary. Endowments and economy [ edit ] Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming. Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After several years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster , a rich man who brought a considerable fortune as well as furniture and books to start the library. [ 9 ] By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton , given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor , Warsill , Dacre and Aldburgh [ 50 ] all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site, so that the grain from the granges could be brought to the abbey for milling. [ 51 ] In October 2021, the National Trust announced that they had uncovered the foundations of a 12th- to 13th-century tannery at the abbey, described as being of "industrial" scale. The foundations, located close to the River Skell, were discovered using ground-penetrating radar, revealing a number of previously-unknown monastic buildings along a long, "bowling alley-type extension" whose use had long been unknown. [ 52 ] Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted large areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn . [ 53 ] After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm , Grimsby , Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling. [ 54 ] Apart from the renting out of land, the monks themselves and their laybrothers, numerous in the early period, were committed on a large scale to its efficient development and the management of the landscape, not least the watercourses and woods. The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England. [ 55 ] Burials [ edit ] Roger de Mowbray, 1st Baron Mowbray John de Mowbray, 2nd Baron Mowbray Abbot Marmaduke Huby (d. 1526) Rose (daughter of Richard de Clare, 6th Earl of Gloucester ), wife of Roger de Mowbray, 1st Baron Mowbray Henry de Percy, 1st Baron Percy William II de Percy, 3rd feudal baron of Topcliffe After the Dissolution [ edit ] Gresham family crest The Abbey buildings and land were seized by the Crown, and sold on 1 October 1540 to Sir Richard Gresham , at the time a Member of Parliament (MP) and previously Lord Mayor of London , the father of Sir Thomas Gresham . It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new residence of Hampton Court and who paid for the Cardinal's funeral. [ 56 ] In 1597 the site was acquired by Sir Stephen Proctor , who built Fountains Hall . Between 1627 and 1767 the estate was owned by the Messenger family. They sold it to William Aislabie who was responsible for combining it with the Studley Royal Estate. [ 57 ] Current status [ edit ] The abbey is a Grade I listed building owned by the National Trust and is part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site . [ 58 ] The archaeological excavation of the site began under the supervision of John Richard Walbran , a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains . [ 59 ] In 1966, the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council, who transferred ownership to North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. [ 60 ] World Heritage Site designation [ edit ] In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO . It was recognised for fulfilling the criteria of "being a masterpiece of human creative genius", and "an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history." [ 58 ] National Trust ownership [ edit ] Fountains Abbey is owned by the National Trust and maintained by English Heritage . The trust also owns Studley Royal Park , and Fountains Hall , and manages St Mary's Church , designed by William Burges and built around 1873 (owned by English Heritage). [ 61 ] All of these are significant features of the World Heritage Site. [ 62 ] In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View , using the Google Trike. [ 63 ] Exhibition and display [ edit ] Fountains Mill Fountains Mill is the former corn mill, built in the mid-twelfth century by the community. It is the most substantial Cistercian mill to survive. [ 64 ] There were two waterwheels installed, run from a leat taken from the Rover Skell. [ 65 ] It was later used as a sawmill, and in 1928 a turbine was installed to convert the building to the production of electricity. [ 66 ] The turbine installation ended the building's over 800 years of continuous use as a mill. [ 67 ] It has previously housed refugees and been used as a stonemason's workshop. [ 68 ] It was refurbished and opened as an exhibition space in 2000. [ 69 ] During 2022 the temporary exhibition was of work by the Yorkshire-based photographer Joe Cornish . [ 70 ] The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived. The centrepiece of the display is a scale model of the abbey at the time of the Dissolution. Following a suggestion by Commander Clare George Vyner, [ 71 ] it was designed by the architect and artist Arthur Edward Henderson (1870–1956), and constructed from plastic by P Kemp and E Wilson at workshops in Surbiton . [ 72 ] The model, measuring some 10 feet by 7 feet and weighing about a ton, was donated on 23 April 1952. [ 73 ] Henderson's book on Fountains Abbey compares photographs of various parts of the ruin with his drawings of how that section would have looked originally. [ 74 ] Climate crisis [ edit ] Since 2006 assessment of the impact of climate change has been an essential requirement for the management of World Heritage Sites. [ 75 ] In early 2021 a National Trust press release stated that the abbey "is at risk of being irreparably damaged by flooding, with several instances in recent years [particularly in 2007] when the 12th-century ruins and water garden have been deluged by water". [ 76 ] Funding from the National Lottery Heritage Fund was subsequently awarded and was intended to help finance the Skell Valley Scheme, which would "rejuvenate 12 miles of the River Skell" to help minimize the risk of flooding. [ 77 ] Cultural significance [ edit ] On screen [ edit ] Fiona Bruce , Antiques Roadshow - 2004 During the cold winter of December 1981 Fountains Abbey was used as a location by Orchestral Manoeuvres in the Dark for the music video of their single " Maid of Orleans (The Waltz Joan of Arc) ". [ citation needed ] In 1972 the abbey was the setting for Alan Bennett 's first televised play, A Grand Day Out. [ 78 ] In 1980, the final scenes of Omen III: The Final Conflict were filmed there. [ 79 ] Other film productions that have used locations at the abbey include the films Life at the Top , [ 80 ] both The Secret Garden (1993) and The Secret Garden (2020) , [ 81 ] and The History Boys . [ 82 ] In October and November 2020, a number of scenes of the second season of the Netflix original The Witcher were filmed in the abbey and its surroundings. [ 83 ] The TV programmes Flambards , [ 84 ] A History of Britain , [ 85 ] Terry Jones' Medieval Lives , [ 86 ] Cathedral , [ 87 ] Treasure Hunt , [ 88 ] and Gunpowder , [ 89 ] have also been filmed there. In literature [ edit ] Wikisource has original text related to this article: 'Fountain's Abbey', a poetical illustration by L. E. L. (1833) Wikisource has original text related to this article: 'Fountain's Abbey', a poetical illustration by L. E. L. (1836) Fountains Abbey features twice in Fisher's Drawing Room Scrap Books with poetical illustrations by Letitia Elizabeth Landon . [ 90 ] In the 1833 edition to a painting of the ruins by N. W. Hook [ 91 ] and in the 1836 edition to a view of the interior vaults by Nathaniel Whittock . [ 92 ] Gallery [ edit ] Fountains Abbey from the west Fountains Abbey Exterior Fountains Abbey Corridor Fountains Abbey Exterior Fountains Abbey Exterior from the north-west Fountains Abbey Stonemason marks in the Chapter House Fountains Abbey monks' cellarium (larder) Fountains Abbey Cloister portal Fountain Abbey grounds from the Infirmary Fountains Abbey vaulted cellarium (larder) Fountains Abbey east end of church Ruins of the Arches at Fountains Abbey taken in the daytime. See also [ edit ] Fountains Hall List of Cistercian abbeys in Britain List of monasteries dissolved by Henry VIII of England St Mary's, Studley Royal Stonemasonry Studley Royal Park References [ edit ]
|
|
1,132
|
9.15500°E
|
45.19139°N
|
San Pietro in Ciel d'Oro
|
https://en.wikipedia.org/wiki/San_Pietro_in_Ciel_d%27Oro
| 9,798
|
Italy
|
Church in Italy San Pietro in Ciel d'Oro St. Peter in the Golden Sky Façade of the building San Pietro in Ciel d'Oro 45°11′29″N 9°9′18″E / 45.19139°N 9.15500°E / 45.19139; 9.15500 Country Italy Denomination Catholic Website Homepage History Status Basilica Founded Before 604 ( 604 ) Dedication Saint Peter Consecrated 1132 Cult(s) present Augustine of Hippo Boethius Relics held Tombs of Augustine and Boethius Associated people Renovated by Liutprand, King of the Lombards Architecture Functional status Active Architectural type Cathedral Style Romanesque Completed 720–725 Specifications Materials Brick, sandstone Administration Diocese Diocese of Pavia San Pietro in Ciel d'Oro ( Italian for "Saint Peter in Golden Sky") is a Catholic basilica (and a former cathedral ) of the Augustinians in Pavia , Italy , in the Lombardy region. Its name refers to the mosaics of gold leaf behind glass tesserae that decorate the ceiling of the apse . The plain exterior is of brick , with sandstone quoins and window framing. The paving of the church floor is now lower than the modern street level of Piazza San Pietro in Ciel d'Oro, which lies before its façade . The "Golden Sky" in the apse History [ edit ] A church of Saint Peter is recorded in Pavia in 604; it was renovated by Liutprand, King of the Lombards (who is buried here) between 720 and 725. The present Romanesque church was consecrated by Pope Innocent II in 1132. The church is the resting place for the remains of Augustine of Hippo , who died in 430 in his home diocese of Hippo Regius , and was buried in the cathedral there, during the time of the Vandals . According to Bede 's True Martyrology , the body was removed to Cagliari , Sardinia by the Catholic bishops whom the Arian Vandal Huneric had expelled from north Africa . Bede tells that the remains were subsequently redeemed out of the hands of the Saracens there—by Peter, bishop of Pavia and uncle of the Lombard king Liutprand—and deposited in the church of Saint Peter about the year 720. Tomb of Liutprand The gate. An important scriptorium was also built in the monastery in the 9th century and a school, led by the Irish monk Dungal , where, as ordered in the Olonese capitular , issued by the emperor Lothair in the royal palace of Corteolona in 825, they had to go to study students from Milan , Brescia , Bergamo , Lodi , Novara , Vercelli , Tortona , Asti , Acqui , Genoa and Como . From the 10th century the monastery enjoyed numerous privileges, including that of being subject only to the authority of the pope. Since the 11th century, the monks of San Pietro in Ciel d'Oro, who at least since 974 owned vineyards and winepresses near San Damiano al Colle , extended the vine culture in Oltrepò Pavese , producing wines that, thanks to the Po and Ticino , were then transported to Pavia, where the part not absorbed by the consumption of the monks was destined for trade. [ 1 ] In 987 Majolus of Cluny stayed in the monastery and reformed its monastic customs, while, not many years later, in 1004, the monastery hosted the emperor Henry II . [ 2 ] In 1022 an important council was held in the basilica (in which decisions were made on the celibacy of religious) presided over by Pope Benedict VIII . [ 3 ] During the council (in which the emperor Henry II also participated) an exposition of the relics of Saint Augustine was also held, at the end of which an arm of the saint, thanks to a substantial donation to the monastery, was granted to Æthelnoth archbishop of Canterbury , while other small fragments of Augustine's bones ended up with other prelates present at the council, such as those of Montalcino , Piacenza , Ragusa , Valencia and Lisbon . [ 4 ] The importance of the monastery is highlighted by the imperial donations received (between the 9th and 12th centuries) from the emperors Hugh , Otto I , Otto II , Otto III , Henry II, Conrad II , Henry III , Henry V and Frederick Barbarossa . [ 5 ] Giovanni di Balduccio , Tomb of St Augustine , the Arca di Sant'Agostino , 1362-1365 In January 1327 Pope John XXII issued the papal bull Veneranda Santorum Patrum , in which he appointed the Augustinians guardians of the tomb of Augustine (the Arca di Sant'Agostino ), which was remade in 1362 and elaborately carved with bas-reliefs of scenes from Augustine's life, created by Giovanni di Balduccio . [ 6 ] In 1365 Galeazzo II Visconti moved his residence from Milan to Pavia, in the nearby Visconteo castle , where he installed his court, the Visconti, wishing to refer to the royal past of Pavia, he decided to transform the basilica in the burial church of the dynasty . In 1361 Galeazzo II in fact granted offers to the church and from the following year financed the preparation of the marble ark of St. Augustine. Since then, the privilege of burial inside the Lombard royal basilica became a status symbol of the court of Galeazzo II. Lionel of Antwerp was buried in the church, and the funeral of the Visconti condottiero Luchino Dal Verme , who died in 1367 in Constantinople , was held there. Galeazzo II himself, by his will, was buried in S. Pietro in Ciel d’Oro. The basilica remained the main sepulchral church of the Visconti court in Pavia until the foundation of the Certosa : between 1384 and the beginning of the 15th century, Francesco d'Este, the eldest daughter of Gian Galeazzo and Caterina Visconti , Violante Visconti and the condottiero Facino Cane . [ 7 ] Also in the same years, the basilica was visited by diplomats and ambassadors visiting the court of Galeazzo II, such as Geoffrey Chaucer in 1378. [ 8 ] In 1525 the Landsknechte captain Eitel Friedrich III , count of Hohenzollern and Richard de la Pole , pretender to the English crown , who died during the battle of Pavia , were also buried in the basilica. [ 9 ] [ 10 ] The facade In the 1570s, in compliance with the dictates of the Council of Trent , the numerous sarcophagi and funeral monuments that crowded the basilica were removed, also creating a certain embarrassment during liturgical functions. With the exception of the remains of king Liutprand, most of the mortal remains found during the 19th-century restorations were buried below the main nave, near the penultimate pillar before the crypt, as recalled by an epigraph inserted in the floor. [ 11 ] The actual remains of Augustine, however, were no longer identified. Then, on October 1, 1695, illiterate stonemasons working in the crypt altar removed paving blocks and discovered a marble box. Within it were other boxes; in the third box were fragments of wood, numerous bones and bone fragments, and glass vials. Some of the workers later claimed to have seen the name "Augustine" written in charcoal on the top of the box. A factor complicating the authentication of the remains was that San Pietro in Ciel d'Oro was shared by the two Augustinian religious orders in bitter rivalry. The controversy on the authenticity of the bones resulted in broadsides, pamphlets and books. In 1728, Pope Benedict XIII 's intervention in Pavia resulted in his approval of the authenticity of Augustine's bones discovered in the church of San Pietro in Ciel d'Oro. (Stone, Harold Samuel (2002). "St. Augustine's Bones: A Microhistory." pp. 90–93) Remains of mosaic, 12th century. The Augustinians were expelled from Pavia in 1785, [ 12 ] Augustine’s ark and relics were brought to Pavia Cathedral in 1799. [ 13 ] The erstwhile cathedral in Pavia fell into disrepair; it was a military magazine under the Napoleonic occupation . It was not restored until the 1870s, under the urging of Agostino Gaetano Riboldi , later Cardinal Riboldi, and reconsecrated in 1896 when the relics of Augustine and the shrine were once again reinstalled. Architecture [ edit ] Very few remains of the Lombard church remain, hidden under the Romanesque reconstruction completed around 1132. San Pietro in Ciel d'Oro looks like this, like many other Pavia churches of the time: a brick building, with three naves with transept, apse and crypt. The façade is marked by two buttresses that divide it into three zones, corresponding to the internal naves; the buttress on the right, more often, houses an internal staircase that allows access to the roof. The top is crowned by a blind loggia and a motif with intertwined arches. The stone (sandstone) is used only for the most important parts, such as the portal and the windows. The portal, in sandstone and marble, bears, within the tympanum, the figure of San Michele in the center, flanked on the sides by the images of two prayers. These sculptures probably come from the previous basilica, since they are dated to 1050-1090. Along the buttresses there are traces of an ancient narthex, or perhaps a quadriporticus, which preceded the entrance to the church. [ 14 ] Entrance to the crypt The interior is marked by five spans, rectangular in the central nave and square in the side aisles. Compared to the basilica of San Michele Maggiore, one immediately perceives the different proportions of the central nave, wider, longer and less slender, the more rigorous succession of the pillars, all roughly in the same section rather than alternating as in the other church, and the absence of the matronaea. The spans from the second to the fifth are covered with rib vaults; the first, higher, almost as a function of an internal atrium (endonarthex) or even a false transept, is covered by a barrel vault. [ 15 ] It also performs static functions as it serves as a support for the façade. At the base of the last pillar of the right aisle there is the tomb of King Liutprand . In 2018, the bones were the subject of a bioarchaeological and genetic investigation. The analyzes showed that the bones belonged to three upper-class individuals, with strong muscles and who ate proteins, mainly from meat and fish, to a greater extent than the rest of the population, as evidenced by the comparisons with the bone findings. coming from some necropolis of the Lombard age found in northern Italy. Of these three individuals, two (a middle-aged man and a younger man) date back to the 6th century, while the third subject, who died around 40/50 years old, was a contemporary of Liutprando: it is therefore possible that the bones of the third individual may belong to the Lombard king. [ 16 ] Interior. In the presbytery, before the choir, there is the Ark of Sant'Agostino, created by Giovanni di Balduccio , [ 17 ] a marble masterpiece of the fourteenth century. It is a Gothic work divided into three bands: below, a plinth containing the urn with the remains of the saint; in the center, an open band, with the statue of sleeping St. Augustine and, at the top, the last band, resting on small pillars and crowned by triangular cusps. The entire work is decorated with more than 150 statues, which represent angels, saints, and bishops, and with tiles with the life of the saint. The ark houses the Reliquary Box of Sant'Agostino, a work of goldsmith's work from the Lombard age. The box, in silver, was donated to the monastery by King Liutprand around 725. [ 18 ] The crypt, with a nave and two aisles, is located immediately under the altar and houses the tomb of Boethius . Silver box with the relics of St. Augustine, around 725. Cultural impact [ edit ] According to tradition, in 504 the Vandal king Thrasamund exiled Saint Fulgentius of Ruspe and other North African Catholic bishops to Sardinia . They brought the saint's relics with them, and in Cagliari they found asylum in an underground chapel, located in largo Carlo Felice, in the Stampace district and accessible by a spiral staircase in the Accardo Palace. In 722-723 Liutprand probably sent a delegation to Cagliari charged with purchasing the relics with a large sum of money and transporting them to Pavia to bring prestige to the kingdom's new capital. The box was then donated by the Longobard king to the Monastery of San Pietro in Ciel d'Oro around 725. Having lost track of the original 14th-century burial, around 1360, in the sacristy of the Order of the Augustinian hermits, it was replaced by a candid marble ark, the work of Campionese masters. It is mentioned by Petrarch in a letter sent to Boccaccio dated December 22 1365 (currently collected in his Seniles , V, 1). [ 19 ] Besides being the burial place of Liutprand and Augustine, San Pietro in Ciel d'Oro contains in its crypt that of Boethius , whose Consolation of Philosophy is often taken as the final literary production of Late Antiquity . Dante mentions this in Il Paradiso , canto X: Lo corpo ond’ella fu cacciata giace giuso in Cieldauro; ed essa da martiro e da essilio venne a questa pace ("The body whence it was chased forth / lieth down below in Cieldauro and itself from martyrdom / and exile came unto this peace.") [ 20 ] Tomb of Boethius in San Pietro in Ciel d'Oro. Boccaccio 's Decameron features a chapter (tenth day, ninth novella) that takes place in the basilica: the sumptuous bed of Thorello, soundly sleeping, is magically transported to San Pietro in Ciel d'Oro, where the sacristan discovers him at Matins the following morning. References [ edit ]
|
|
1,132
|
16.86639°E
|
41.12861°N
|
Castello Normanno-Svevo (Bari)
|
https://en.wikipedia.org/wiki/Castello_Normanno-Svevo_(Bari)
| 11,927
|
Italy
|
Castle in Bari, Italy This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "Castello Normanno-Svevo" Bari – news · newspapers · books · scholar · JSTOR ( August 2015 ) ( Learn how and when to remove this message ) Norman-Swabian Castle Castello Normanno-Svevo Bari , Apulia , Italy Western ramparts of the castle Coordinates 41°7′43″N 16°51′59″E / 41.12861°N 16.86639°E / 41.12861; 16.86639 Site information Open to the public yes Site history Built 1132 ( 1132 ) Built by Norman king Roger II Rebuild by Frederick II of Sicily The Castello Normanno-Svevo or Norman-Swabian Castle ( Italian : Castello normanno-svevo ), also known as the u Castídde in the Barese dialect , is a castle in the Apulian city of Bari , Italy . [ 1 ] Built around 1132 by Norman king Roger II , it is currently used for exhibitions. [ 1 ] History [ edit ] Probably built in 1132 by Norman King Roger II , it was destroyed in 1156 by king William I of Sicily and rebuilt and reinforced in 1233 by Fredrick II , then King of Sicily . During the Angevin domination, it went through several transformations, and after being acquired by Duke Ferdinand of Aragon , was donated to the Sforza family and passed to Bona Sforza , Queen of Poland . After Bona's death, it was returned under the King of Naples and transformed into a prison and barracks. The castle is surrounded by a moat on all sides, except the northern section, which was bordering the sea and can be accessed from the bridge and the gate on the southern side. It is mainly composed of the Aragon walls and the main Hohenstaufen tower, and is currently used for exhibitions. According to the tradition, in 1221 Frederick II met St. Francis of Assisi in this castle. According to tradition, Frederick had a courtesan sent to Francis's room and watched through a peephole to see what would happen. When Francis sent the woman away, Frederick was impressed with his principles; the two spent the rest of the night in conversation. This story is not confirmed beyond doubt, but it is considered believable. [ 2 ] Gallery [ edit ] Courtyard Old Town Seaside References [ edit ]
|
|
1,134
|
8.9500°E
|
45.3500°N
|
Morimondo Abbey
|
https://en.wikipedia.org/wiki/Morimondo_Abbey
| 1,799
|
Italy
|
Morimondo Abbey (Abbazia di Morimondo) The abbey from the north. Religion Affiliation Catholic Province Milan Location Location Morimondo , Italy Architecture Type Church Style Gothic Completed 1296 Morimondo Abbey ( Italian : Abbazia di Morimondo ) is a former Cistercian monastery located at Morimondo , a few kilometers south of Abbiategrasso in the Metropolitan City of Milan , Lombardy , northern Italy . The surviving structure is Romanesque and Gothic . It was founded in 1134 as a daughter house of Morimond Abbey near Dijon , from which it took its name (meaning "die to the world"). [ 1 ] History [ edit ] Origins [ edit ] The history of the abbey begins on October 4, 1134 when a group of founding monks arrived from the mother house of Morimond in France. The monks settled in Coronate (now a frazione of Morimondo) and later chose the location for their monastery in Morimondo, about a mile away. Probably, the monastery was already partially built when they moved to Morimondo on November 11, 1136. Soon after its foundation the abbey acquired patrons and postulants from all social classes and the community of the monks had a rapid growth in the number of vocations. Even before the construction of the church, the monks founded two further communities, in Acquafredda [ 2 ] near Como (1143) and in Casalvolone [ 3 ] near Novara (1169). Further proofs of the flourishing activity in Morimondo was the Scriptorium, aimed at creating the monastic library and at supplying the two new daughter houses with some basic books, and the large agricultural holdings of the motherhouse, on which several granges were in fact settled in the surroundings. The building of the church began in 1182 and was finished in 1296. There was a delay with respect to the building of the monastery and it was due to disputes with the clergy of Casorate, a village few miles from Morimondo. A long period of interruptions (probably a few years) occurred after December 1237 when the monastery was assaulted by Pavian troops and various monks were killed. Indeed, militants from Pavia and Milan often looted the area and wars hampered the success of the abbey. Frederick Barbarossa and his troops looted Morimondo in 1161. An interruptions occurred also in 1245 due, once again, to the raids of the imperial troops. 14th and 15th centuries [ edit ] At its peak the community numbered 50 choir monks and 200 conversi ( lay brothers who had become members of the monastic community, without the obligation to full choir office, and were in charge of the management of the productive activities of the monastery and relations with the outside world). A slow decline began in the 14th century due to different circumstances. One of them was the looting in 1314 but most damaging was the introduction of the commendatory system in 1450, a conversion which occurred in many abbeys with Cardinal Giovanni Visconti , Archbishop of Milan , Commendatory Abbot of Morimondo. Abbots after Giovanni Visconti include Cardinal Branda Castiglioni , a humanist, and Giovanni de' Medici , later Pope Leo X . Being concerned to revive the spiritual life of Morimondo, in 1499 Giovanni de' Medici sent eight monks from the Cistercian abbey of Settimo Fiorentino to Morimondo. 16th-18th centuries [ edit ] The restored stability led to reconstruction of the cloister around the year 1500, the reconstruction of the portal of the sacristy, the painting of the fresco of the Madonna and Child (1515) attributed to Bernardino Luini , and finally the carved wooden choir of 1522. In 1564 the abbey became a parish after a decision of St. Charles Borromeo , archbishop of Milan , and the change gave new fervour to Morimondo. In the same year Borromeo stripped the Abbey of its land-holdings, in order to give financial aid to the Ospedale Maggiore of Milan . Another fervent period was in the 17th century when the abbot Antonio Libanori (1648-1652) from Ferrara was able to effect a revival of the cultural and spiritual life of the monastic community. During the 18th century, palaces were built at the north and west sides of the cloister. The abbey was suppressed on May 31, 1798 in the wake of the French Revolution ; the Cistercian monks were expelled, and the illuminated manuscript of the library were dispersed. 19th-21st centuries [ edit ] From 1805 to 1950, priests at the former monastic church continued to minister to the parish. In 1941 the Blessed Cardinal Ildefonso Schuster , archbishop of Milan , wishing to restore the monastery, made contact with the Trappist Fathers of the Cistercian Order of the Tre Fontane Abbey in Rome , but with no success. Then, in 1950, the Congregation of the Oblates of the Virgin Mary was settled in the monastery. In 1991, Cardinal Carlo Maria Martini entrusted the pastoral care of the parish to the Congregation of the Servants of the Immaculate Heart of Mary with a new call to revive the abbey of Morimondo as a center of spirituality. The "Fondazione Abbatia Sancte Marie de Morimundo" aims at promoting the cultural and religious heritage of the abbey by organizing seminars, exhibitions, visits to the church and nearby building. [ 4 ] The abbey has been used as a set for Cado dalle nubi , a 2006 movie on immigration from South Italy starring Checco Zalone , and for Benedetti dal Signore , a 2004 Italian television series set in a convent of Franciscan friars . The abbey has given the name to the Rotary Club Morimondo Abbazia [ 5 ] which was founded in 2013, a parallel being acknowledged between the compassionate and industrious attitude of Cistercian monks and the rotarian commitment to "service above self". [ 6 ] The Foundation Abbatia Sancte Marie de Morimundo was established on April 17, 1993 as a non-profit private foundation recognized on July 12, 1994 by the Italian Ministry of Cultural and Environmental Heritage (act no. 149, entry 1800/a). The Foundation is named after the ex libris of the illuminated manuscripts produced in the monastic scriptorium in the twelfth and thirteenth centuries. The aims of the Foundation are to develop cultural and religious activities at Morimondo Abbey and to promote the maintenance of the architectural heritage of the monastery. In December 2007, the Lombardy Region has recognized the monastery as a regional museum, run by the Foundation Abbatia Sancte Marie de Morimundo. The museum is divided into two sections: - The Museum of the Abbey, which was created to promote the whole buildings of the Cistercian abbey (cloister, chapter house, working rooms of the monks, hall of the founders, porch, dining hall, dormitory) - The Civic Museum Angelo Comolli , an Art Nouveau painter and fresco painter. [ 7 ] The monastery [ edit ] A peculiarity of Morimondo Abbey is that the buildings of the monastery are built on several floors due to being built on the side of a depression. The cloister occupies the third floor above iitwo levels of large rooms with a vaulted ceiling supported by columns. Moreover, the monks' dormitory (originally a single room) is just over the chapter house. The presence of different levels is apparent in and southern parts of the monastery, but it can be seen also in the Lay brothers ' buildings. The Church [ edit ] The nave While Morimondo Abbey is the fourth Cistercian monastery founded in Italy (1134) and the first in Lombardy , the abbey church is quite different from all other 12th century Cistercian buildings. The church construction being postponed till 1182, previous architectural experiences were exploited and surpassed. In fact, the Cistercian architecture in Morimondo Abbey adopts some gothic features, e.g. the cross vaulted arches, which can also create rectangular spans. Spans with a rectangular basis in the nave are paired with spans with a square basis in the side naves and the sense of verticality is dramatically increased. The magnificence of Morimondo is related to its eight spans while previous abbey churches are smaller. The majesty of the church of Morimondo comes mainly from its total austerity and the image of order given by the bricks used in the building. The Renaissance and Baroque styles did not alter the spirit of the twelfth century building. Wooden choirstalls [ edit ] The choir The current wooden choirstalls replaces the original stalls and was fabricated in 1522 by Francesco Giramo, an artist from Abbiategrasso . It is an interesting example of Renaissance wooden furniture as shown by the compact and architectural design, which is after the style promoted in Lombardy by Bramante , and by the technique used to engrave the figures, which were curved with woodcuts made with hot iron. The represented symbols hint to its use as a place of worship. Although derived from classical antiquity according to the Renaissance style, they represent spiritual values such as generosity of God’s gifts (the fruit basket) or the saving action of Christ (the fish). Cloister [ edit ] In the cloister the layout typical of a Cistercian monastery is still legible despite successive interventions (the three arcades built in 1500 - 1505 and the north and west sides raised in mid eighteenth century). The chapter house is fully maintaining its original features, and the refectory and the kitchen, now having a beautiful seventeenth-century style, is nevertheless reminiscent of the original layout. The granges [ edit ] The term grange (from Latin granea, a building for grain storage) was used to designate a rural productive site. It was built on a pre-existing agricultural structure, or from scratch. The [ grange had great autonomy from the home abbey, although a Lay Brother was ruling the grange. Necessities were growing with the number of monks and the development of the structure. Agriculture was the main source of material goods and the granges were the frame allowing for an effective agricultural activity. They also served as a repository of corn and equipment and as Lay Brother dwellings. List of abbots (incomplete) [ edit ] Abbots Gualguerius (or Gualcherio, or Gualchezio, 1134-1145, first abbot) Peter (1145-?) Arnold (? -?) Rogerio (?. 1195) William (?. 1201) Bertram from Vedano (13th century) Abbots and Commanders Giovanni Visconti (1441?-1447?, then Archbishop of Milan) Astorgio Agnesi (1450-1451, Archbishop of Benevento) Battista Maletta (1452-1462, former abbot at Chiaravalle della Colomba Abbey) Matteo Castiglioni (1463-1475) Branda Castiglioni (1475-1487, then cardinal) Giovanni Giacomo Schiaffinato (1487, Bishop of Parma) Giovanni de' Medici (1487-1495, then pope Leo X) Giovanni Giacomo Schiaffinato (1495-1497) Cesare Borgia (1498) Federico Sanseverino (1498-1516, then cardinal) Giulio de' Medici (1516-1521, then pope Clement VII) Innocenzo Ciocchi del Monte (?-1556) ... Antonio Libanorio (1648-1652) ... Francesco Lonati (1730-1737) References [ edit ]
|
|
1,134
|
1.4807°E
|
49.3696°N
|
Mortemer Abbey
|
https://en.wikipedia.org/wiki/Mortemer_Abbey
| 1,235
|
France
|
Abbey in France The 15th - 17th Century Abbey and Dovecote Mortemer Abbey ( French : L'Abbaye de Mortemer , pronounced [labei də mɔʁtəmɛʁ] ) is a former Cistercian monastery in the Forest of Lyons between the present Lyons-la-Forêt and Lisors , some 34 km (21 mi) southeast of Rouen in the department of Eure . It is located on the territory of the commune of Lisors. History [ edit ] It was originally built in 1134 on land presented as a gift to the Cistercians by Henry I of England . The stagnant water of the drainage lake, dug out by the monks to dry up the marshy land around the quick-running Fouillebroc stream, was called the "dead pond" - in French "morte mare" - and gave the monastery its name. The monks constructed what was then one of the largest Cistercian monastery in the world [ citation needed ] . Over the centuries, the abbey fell into decline and disrepair. It was rebuilt in the 17th century, but the decline was irreversible and by 1790, when it was dissolved in the course of the French Revolution , only five monks remained. Buildings [ edit ] The 12th-century buildings were already more or less derelict by the time of the French Revolution , and subsequent use as a convenient source of cut stone for local construction reduced them to little more than a ruin. Apart from the cloisters, which are relatively intact, there remains only a shell. The 17th-century buildings by contrast are well preserved and open to visitors, with guided tours available most of the year. The abbey site also has a well-maintained 17th-century dovecote , which was also used as a gaol house in the 18th and 19th centuries. Legends [ edit ] There are a number of legends and ghost stories relating to the abbey. Matilda of England was forced by her father Henry I to stay in a room in the abbey for 5 years. After her death in Rouen , she is said to have come back to haunt the place. Her ghost is known as The White Lady . Visitors to the abbey have reported hearing strange noises and feeling a strange presence. [ citation needed ] Four monks were murdered during the French Revolution and their ghosts are also said to haunt the abbey. If you meet a cat in the ruins, it is alleged to be a Goblin cat ( Norman : eul cat goublin ), guarding the treasure of the abbey. There are a number of other legends, giving the abbey the nickname of as most haunted abbey in France . [ citation needed ] External links [ edit ] Wikimedia Commons has media related to Mortemer Abbey . Vidéo sur l'abbaye (1993) (in French) Site officiel de l'abbaye de Mortemer (In French) Further information on the abbey, its legend and ghosts, with images. (Eng.) 49°22′11″N 1°28′51″E / 49.3696°N 1.4807°E / 49.3696; 1.4807 Authority control databases International VIAF National France BnF data Geographic Mérimée Other IdRef
|
|
1,135
|
1.44306°E
|
44.44722°N
|
Cahors Cathedral
|
https://en.wikipedia.org/wiki/Cahors_Cathedral
| 3,454
|
France
|
Roman Catholic church in Occitanie, France This article needs additional citations for verification . Please help improve this article by adding citations to reliable sources . Unsourced material may be challenged and removed. Find sources: "Cahors Cathedral" – news · newspapers · books · scholar · JSTOR ( January 2017 ) ( Learn how and when to remove this message ) You can help expand this article with text translated from the corresponding article in French . (July 2019) Click [show] for important translation instructions. View a machine-translated version of the French article. Machine translation, like DeepL or Google Translate , is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia. Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing French Wikipedia article at [[:fr:Cathédrale Saint-Étienne de Cahors]]; see its history for attribution. You may also add the template {{Translated|fr|Cathédrale Saint-Étienne de Cahors}} to the talk page . For more guidance, see Wikipedia:Translation . Cahors Cathedral Cathédrale Saint-Étienne de Cahors Cahors Cathedral Religion Affiliation Roman Catholic Church Province Diocese of Cahors Region Occitanie Rite Roman Ecclesiastical or organizational status Cathedral Year consecrated 1135 Status Active Location Location Cahors , France Geographic coordinates 44°26′50″N 01°26′35″E / 44.44722°N 1.44306°E / 44.44722; 1.44306 Architecture Type church Style Gothic , Romanesque Groundbreaking 1080 Completed 1135 Plan of the cathedral complex Cahors Cathedral ( French : Cathédrale Saint-Étienne de Cahors ) is a Roman Catholic church located in the town of Cahors , Occitanie , France . A national monument , it is an example of the transition between the late Romanesque and Gothic architectural traditions. Overview [ edit ] The church was built by bishop Gerard de Cardaillac [ 1 ] in the 11th century, over a church erected in the 7th century by St. Didier of Cahors . It was consecrated by Pope Calixtus II on September 10, 1119, and completed around 1135. The church, located in the city's centre, has the sturdy appearance of a fortified edifice: at the time, the local bishops were in fact also powerful feudal lords in their role as counts and barons of Cahors. The façade was renovated in 1316–1324 by Guillaume de Labroue, cousin of Pope John XXII , confirms this impression: it resembles a heavy castle wall, consisting in a porch surmounted by a bell tower enclosed between two towers. The six windows, as well as those on the porch sides, are rather narrow; the only elements characterizing it as a church are the magnificent portal with triple splays , surmounted by a gallery of small arches, and the large rose window . On the northern side is a secondary façade in Romanesque style, also fortified. Nave [ edit ] The well-illuminated nave is 44 x 20 m wide. The two massive, 32 m-high, domes in Byzantines style, resting on pendentives , are supported by six huge pilasters. Unusually, there is no transept . One of the domes is decorated with 14th-century frescoes, depicting the stoning of St. Stephen as well as eight prophets, each riding an animal, in the fashion of Greek or Hindu deities. The walls have numerous other medieval paintings. Apse [ edit ] In Gothic style on a Romanesque base (to which belong the columns with decorated capitals), the apse has three chapels with sculptures. The complex forms a pleasant contrast between the white apse and the colorful stained glass and the paintings of the choir. There are several tombs, such as that of Alain de Solminihac , and the precious relic of the Holy Cap , which supposedly was worn by Christ and which was brought to France by bishop Gerard de Cardillac after his trip to the Holy Land in 1113. Cloister [ edit ] A door on the right of the choir gives access to the Flamboyant Gothic -style cloister , built in 1504 by bishop Anthony of Luzech. It has scenes of everyday life and a Madonna. On the western side is the St. Gaubert Chapel, with the vault decorated with Italian Renaissance paintings and, on the walls, 15th-century frescoes representing the Last Judgement . It is now home to a museum of Religious Art. Gallery [ edit ] Plan of the cathedral Stained glass windows View Cloister See also [ edit ] List of Gothic Cathedrals in Europe History of medieval Arabic and Western European domes Footnotes [ edit ]
|
|
1,136
|
31.28528°E
|
58.51778°N
|
Saint Nicholas Cathedral, Novgorod
|
https://en.wikipedia.org/wiki/Saint_Nicholas_Cathedral,_Novgorod
| 1,329
|
Russia
|
Church in Veliky Novgorod, Russia Saint Nicholas Cathedral Николо-Дворищенский собор 58°31′04″N 31°17′07″E / 58.51778°N 31.28528°E / 58.51778; 31.28528 Location Veliky Novgorod Country Russia Denomination Russian Orthodox History Founded 1113 Founder(s) Mstislav I of Kiev Dedication Saint Nicholas Architecture Style Russian Groundbreaking 1113 Completed 1136 Saint Nicholas Cathedral ( Russian : Николо-Дворищенский собор , Nikolo-Dvorishchensky Cathedral , Saint Nicholas Cathedral on Yaroslav's Court ), founded by Mstislav the Great in 1113 and consecrated in 1136, is the oldest surviving building in the central part of Veliky Novgorod after the Saint Sophia Cathedral . The Saint Nicholas Cathedral is on the World Heritage list as a part of object 604 Historic Monuments of Novgorod and Surroundings . The cathedral was designated by the Russian government as an architectural monument of federal significance (#5310046007). [ 1 ] History [ edit ] The cathedral is located outside of the kremlin walls, on the right bank of the Volkhov River at the Yaroslav's Court . It was founded by Mstislav , the prince of Novgorod, in 1113, however, the construction took over twenty years, and the cathedral was consecrated in 1136, when Novgorod was already a republic . [ 2 ] Presumably, the cathedral was supposed to serve the residence of the prince located at the Yaroslav's Court and was connected to the residence. Mstislav was the Prince of Novgorod between 1097 and 1117, and during his tenure he founded a big number of churches. The completion date for the cathedral is not known precisely, however the cathedral was completed and consecrated by 1136. Chronicles mention that in this year Prince Sviatoslav Olgovich was betrothed in the cathedral. [ 3 ] Since the 13th century, the cathedral belonged to the city of Novgorod rather than to the prince, and veche was held near the cathedral. It was mentioned as cathedral in the 17th century. The cathedral was renovated several times in the 18th and the 19th centuries, as well as in 1913. Since 1933 it was open both as a church and as a museum. During the German occupation of Novgorod in World War II, it served as a barrack and was badly damaged. In 1945 the cathedral was returned to Russian Orthodox Church, however, since 1962 it was functioning only as a museum. In 1994–1999 the cathedral was extensively restored. [ 3 ] Architecture [ edit ] The cathedral is roughly squared in cross-section and has one dome . The roof is supported by four pillars . It is known that in the middle of the 17th century the cathedral had five domes. Apparently, the roof was considerably altered during one of the restorations in the end of the 17th century. Additional volumes were built at the northern (in 1822) and the western (1809) sides of the cathedral. [ 3 ] Frescoes [ edit ] Fragments of original frescoes from the 12th century have survived. The best preserved fragment depicts Job . References [ edit ]
|
|
1,137
|
1.599250°E
|
48.789250°N
|
Donjon de Houdan
|
https://en.wikipedia.org/wiki/Donjon_de_Houdan
| 1,862
|
France
|
Medieval fortified tower in Houdan in the Yvelines département of France The Donjon de Houdan The Donjon de Houdan (Houdan Keep) is a medieval fortified tower in the commune of Houdan in the Yvelines département of France . Architecture [ edit ] Constructed around 1120-1137 by Amaury III of Montfort , the keep or donjon is the only vestige of the medieval castle of Houdan. It is a massive tower isolated from the town in the west, once used as a water tower. The tower is cylindrical, 16 metres in diameter and 25 metres in height. It is flanked by four turrets 4.8 metres in diameter each at cardinal points on the central cylinder. The walls of the tower have an average thickness of three metres. The tower consists of three levels: a ground floor, and two higher floors. The interior floors and roof have disappeared. An access door was located 6 metres above the ground level and once gave access to the mezzanine floor. Another entrance was located in one of the turrets. The donjon is thought to have been one of the earliest experiments in improving flanking fire from the battlements (reduction of "dead ground"), and a transitional form between the rectangular keeps of the 11th to 12th centuries, and widespread adoption of cylindrical keeps in the 13th century. Other contemporary examples can be seen at Étampes and Provins . History [ edit ] 1120–1137: construction of the keep 1880: installation of a 200 kilolitre cistern in the keep, transforming it into a water tower ( French : château d'eau ) 1889: classified as an official historical building ( French : monument historique ) [ 1 ] 1903: acquisition of the keep by the town of Houdan, courtesy of the last private owner, a Dr. Aulet. 1970: replacement water cistern built nearby 2014: 1.3M Euro restoration program 2016: reopened to the public This tower has never been taken during its history. [ citation needed ] See also [ edit ] List of castles in France References [ edit ] Mesqui, Jean (1997). Chateaux-forts et fortifications en France . Paris: Flammarion. pp. 493 pp . ISBN 2-08-012271-1 .
|
|
1,137
|
2.70056°E
|
48.40222°N
|
Palace of Fontainebleau
|
https://en.wikipedia.org/wiki/Palace_of_Fontainebleau
| 146,143
|
France
|
French royal château Palace of Fontainebleau Château de Fontainebleau Interactive fullscreen map Location Fontainebleau , Seine-et-Marne , France Coordinates 48°24′8″N 2°42′2″E / 48.40222°N 2.70056°E / 48.40222; 2.70056 UNESCO World Heritage Site Official name Palace and Park of Fontainebleau Type Cultural Criteria ii, vi Designated 1981 (5th session ) Reference no. 160 UNESCO Region Europe and North America Palace of Fontainebleau ( / ˈ f ɒ n t ɪ n b l oʊ / FON -tin-bloh , US also /- b l uː / -bloo ; [ 1 ] French : Château de Fontainebleau [ʃɑto d(ə) fɔ̃tɛnblo] ), located 55 kilometers (34 miles) southeast of the center of Paris , in the commune of Fontainebleau , is one of the largest French royal châteaux . It served as a hunting lodge and summer residence for many of the French monarchs , including Louis VII , Francis I , Henry II , Louis-Philippe , Napoleon I , and Napoleon III . Though the monarchs only resided there for a few months of the year, they gradually transformed it into a genuine palace, filled with art and decoration. [ 2 ] [ 3 ] It became a national museum in 1927 and was designated a UNESCO World Heritage Site in 1981 for its unique architecture and historical importance. [ 4 ] History [ edit ] Name [ edit ] Fontaine Belle-Eau, the spring which gave its name to Fontainebleau "Fontainebleau" took its name from the "Fontaine Belle-Eau", a natural fresh water spring located in the English garden not far from the château. The name means "Spring of beautiful water". In the 19th century the spring was rebuilt with an octagonal stone basin, as it appears today. [ 5 ] Hunting Lodge and castle (12th century) [ edit ] The earliest reference to a royal residence at Fontainebleau dates to 1137 under King Louis VII the Younger , but it had probably been built earlier, during the reign of Philip I of France (1060 to 1108), when the Gâtinais region was annexed from the Duchy of Burgundy . It became a favorite summer residence and hunting lodge of the kings of France because of the abundant game and many springs in the surrounding forest. [ 6 ] The first chateau was a square "donjon" or keep , a fortified tower surrounded by a wall. It was three stories high, and occupied an area of about fifty square meters. The lower walls were three meters wide while the upper walls were a meter wide, made of stone, had windows facing north and south and were topped by a wooden palisade. The King resided on the middle level. The original tower, rebuilt to fit the later styles, is still part of the Oval Court. [ 7 ] Louis VII built a chapel which was consecrated in 1169 by Thomas Becket , the English priest in exile in France because of this disagreements with King Henry II of England . He also sponsored the construction of a monastery of the Trinitarians , a mendicant order of monks, close to the castle [ 8 ] Francis I and The first School of Fontainbleau (1528–1547) [ edit ] The modest medieval castle remained until the reign of Francis I of France (1494–1547). The King commissioned the architect Gilles Le Breton to build a new palace in the Renaissance style. Le Breton created the Cour Ovale, or oval courtyard, He preserved the original medieval keep on one side, but added a monumental new building, the Porte Dorée or Golden Gate, in the Italian Renaissance style, as the main entry of the palace, On the north side he built another building with a Renaissance stairway, the Portique de Serlio, which gave access the royal apartments. [ 9 ] Beginning in about 1528, Francis constructed the Galerie François I , which allowed him to pass directly from his apartments to the chapel of the Trinitarians. He brought the architect Sebastiano Serlio from Italy, and the Florentine painter Giovanni Battista di Jacopo, known as Rosso Fiorentino , to decorate the new gallery. Between 1533 and 1539 Rosso Fiorentino filled the gallery with murals glorifying the king, framed in stucco ornament in high relief, and lambris sculpted by the furniture maker Francesco Scibec da Carpi . Another Italian painter, Francesco Primaticcio from Bologna ("Primatice" to the French), joined later in the decoration of the gallery. Their elaborate mixture of painting and sculpture became known as the first School of Fontainebleau , which helped launch the French Renaissance . [ 10 ] The emblem of Francis I, a salamander surrounded by flames, is found alongside each painting he commissioned in the Grand Gallery. [ 11 ] In about 1540, Francis began another major addition to the château. Using land on the east side of the château purchased from the order of the Trinitarians, he began to build a new square of buildings around a large courtyard. It was enclosed on the north by the wing of the Ministers, on the east by the wing of Ferrare, and on the south by a wing containing the new gallery of Ulysses. The château was surrounded by a new park in the style of the Italian Renaissance garden , with pavilions and the first grotto in France. Francesco Primaticcio created more monumental murals for the gallery of Ulysses. [ 10 ] Henry II and Catherine de' Medici (1547–1570) [ edit ] The original horseshoe staircase by Philibert de l'Orme in the Courtyard of Cheval Blanc (1559) Following the death of Francis I, King Henry II continued to expand the chateau. The King and his wife, Catherine de' Medici , chose the architects Philibert de l'Orme and Jean Bullant to do the work. They extended the east wing of the lower court and decorated it with a horseshoe-shaped staircase, which was later enlarged, and became a symbol of the château. Their major project was the Oval Court, which was designed to be the entrance to the new royal apartments. They transformed the loggia originally planned by Francis I into a Salle des Fêtes, or grand ballroom, with a coffered ceiling. Facing the courtyard of the fountain and the fish pond. The decoration of the new ballroom featured murals by Francesco Primaticcio , surrounded by elaborate stucco sculpture. A new generation of artists joined the work, including the Mannerists painters Primaticcio and Niccolò dell'Abbate . [ 12 ] It was also the birthplace of Francis II , Henry II's firstborn son. Following the death of Henry II in a jousting accident, his widow, Catherine de' Medici , took over the project, which she carried out through the reigns of her three sons, Francis II, Charles IX , and Henry III . She named Primaticcio as the new superintendent of royal public works. He designed the section known today as the wing of the Belle Cheminée, noted for its elaborate chimneys and its two opposing stairways. In 1565, as a security measure due to the Wars of Religion , she also had a moat dug around the château to protect it against attack. [ 12 ] Henry IV (1570–1610) [ edit ] King Henry IV made more additions to the château than any king since Francis I. He extended the oval court toward the west by building two pavilions, called Tiber and Luxembourg. Between 1601 and 1606, he remade all the façades around the courtyard, including that of the chapel of Saint-Saturnin, to give the architecture greater harmony. On the east side, he built a new monumental domed gateway, the Porte du Baptistère. Between 1606 and 1609, he built a new courtyard, the Cour des Offices or Quartier Henry IV, to provide a place for the kitchens and residences for court officials. Two new galleries, the Gallery of Diana and the Gallery of Deer, were built to enclose the old garden of Diana . He also added a large jeu de paume , or indoor tennis court, the largest such court existing in the world. [ 13 ] [ 14 ] [ 15 ] A second School of Fontainebleau group of painters and decorators went to work on the interiors. The architect Martin Fréminet created the ornate chapel of the Trinity, while the painters Ambroise Dubois and Toussaint Dubreuil created a series of heroic paintings for the salons. A new wing, named for its central building, La Belle Cheminée, was built next to the large fish pond. Henry IV also devoted great attention to the park and gardens around the chateau. The garden of the Queen or garden of Diana, created by Catherine de' Medici, with the fountain of Diane in the center, was located on the north side of the palace. Henry IV's gardener, Claude Mollet , trained at Château d'Anet , created a large parterre of flower beds, decorated with ancient statues and separated by paths into large squares. The fountain of Diana and the grotto were made by Tommaso Francini , who may also have designed the Medici Fountain in the Luxembourg Garden for Marie de' Medici . On the south side, Henry created a park, planted with pines, elms and fruit trees, and laid out a grand canal 1200 meters long, sixty years before Louis XIV built his own grand canal at Versailles . [ 15 ] Louis XIII to Louis XVI (17th-18th century) [ edit ] Fountain and garden behind the château (about 1680) Louis XIV hunting near the Palace of Fontainebleau. Painting by Pierre-Denis Martin (1718-1723) Court of Fountains (1755) King Louis XIII , who had been born and baptized in the château, continued the works begun by his father. He completed the decoration of the chapel of the Trinity, and assigned the court architect Jean Androuet du Cerceau to reconstruct the horseshoe stairway earlier designed by Philibert Delorme on the courtyard that had become known as the Cour de Cheval Blanc. After his death, his widow, Anne of Austria , redecorated the apartments within the Wing of the Queen Mothers (Aile des Reines Mères) next to the Court of the Fountain, designed by Primatrice. [ 16 ] King Louis XIV spent more days at Fontainebleau than any other monarch; he liked to hunt there every year at the end of summer and the beginning of autumn. He made few changes to the exterior of the château, but did build a new apartment for his companion Madame de Maintenon , furnished it with some major works of André-Charles Boulle and demolished the old apartments of the baths under the Gallery of Francis I to create new apartments for the royal princes, and he made some modifications to the apartments of the King. The architect Jules Hardouin-Mansart built a new wing alongside the Gallery of Deer and the Gallery of Diana to provide more living space for the Court. He did make major changes in the park and gardens; he commissioned André Le Nôtre and Louis Le Vau to redesign the large parterre into a French formal garden . He removed the hanging garden which Henry IV had built next to the large fish pond, and instead built a pavilion, designed by Le Vau, on a small island in the center of the pond. Louis XIV welcomed many foreign guests there, including the former Queen Christina of Sweden , who had just abdicated her crown. While a guest in the château on 10 November 1657, Christina suspected her Master of the Horse and reputed lover, the Marchese Gian Rinaldo Monaldeschi [ sv ] , of betraying her secrets to her enemies. Her servants chased him through the halls of the château and stabbed him to death. Louis XIV came to see her at the château, did not mention the murder, and allowed her to continue her travels. On May 19–20, 1717, during the Regency following the death of Louis XIV, the Russian Tsar Peter the Great was a guest at Fontainebleau. A hunt for stags was organized for him, and a banquet. Officially the visit was a great success, but in the memoirs published later by members of the delegation, it appears that Peter disliked the French style of hunting, and that he found the château too small, compared with the other royal French residences. The routine of Fontainebleau also did not suit his tastes; he preferred beer to wine (and brought his own supply with him) and he liked to get up early, unlike the French Court. [ 17 ] [ 18 ] The renovation projects of Louis XV were more ambitious than those of Louis XIV. To create more lodging for his enormous number of courtiers, in 1737–38 the King built a new courtyard, called the Cour de la Conciergerie or the Cour des Princes, to the east of the Gallery of Deer. On the Cour du Cheval Blanc, the wing of the Gallery of Ulysses was torn down and gradually replaced by a new brick and stone building, built in stages in 1738–1741 and 1773–74, extending west toward the Pavilion and grotto of the pines. Between 1750 and 1754, the King commissioned the architect Ange-Jacques Gabriel , who had designed the Place de la Concorde and Petit Trianon to build a new wing along the Cour de la Fontaine and the carp pond. The old Pavilion des Poeles was demolished and replaced by the Gros Pavilion, built of cream-colored stone. Lavish new apartments were created inside this building for the King and the Queen. The new meeting room for the Royal Council was decorated by the leading painters of the day, including François Boucher , Charles-André van Loo , Jean-Baptiste Marie Pierre and Alexis Peyrotte . A magnificent small theater was created on the first floor of the wing of the Belle Cheminée. King Louis XVI also made additions to the château to create more space for his courtiers. A new building was constructed alongside the Gallery of Francis I; it created a large new apartment on the first floor, and a number of small apartments on the ground floor, but also blocked the windows on the north side of the Gallery of Francis I. The apartments of Queen Marie Antoinette were redone, a Turkish-style salon was created for her in 1777, a room for games in 1786–1787, and a boudoir in the arabesque style. Louis XVI and Marie Antoinette made their last visit to Fontainebleau in 1786, on the eve of the French Revolution . [ 19 ] The Revolution and the First Empire [ edit ] Napoleon signs his abdication at Fontainebleau on 4 April 1814 Napoleon saying farewell to his Old Guard in the Courtyard of Honor (20 April 1814) During the French Revolution the château was far from the turbulence of Paris, and did not suffer any significant damage, but all the furniture was later sold at auction. The buildings were occupied by the Central School of the Department of Seine-et-Marne , until 1803, when Napoleon installed a military school there. He chose Fontainebleau as the site of his historic 1804 meeting with Pope Pius VII , who had travelled from Rome to crown Napoleon emperor . Apartments were refurnished and decorated for the Emperor and Empress in the new Empire style . The Cour du Cheval Blanc was renamed the Cour d'Honneur, or Courtyard of Honor. One wing facing the courtyard, the Aile de Ferrare, was torn down and replaced with an ornamental iron fence and gate, making the façade of the palace visible. The gardens of Diane and the gardens of the Pines were replanted and turned into an English landscape garden by the landscape designer Maximilien Joseph Hurtault . Napoleon's visits to Fontainebleau were not frequent, because he was occupied so much of the time with military campaigns. Between 1812 and 1814, the château served as a very elegant prison for Pope Pius VII. On 5 November 1810, the chapel of the château was used for the baptism of Napoleon's nephew, the future Napoleon III , with Napoleon serving as his godfather, and the Empress Marie-Louise as his godmother. [ 20 ] Napoleon spent the last days of his reign at Fontainebleau, before abdicating there on 4 April 1814, under pressure from his Marshals , Ney , Berthier , and Lefebvre . On 20 April, after failing in an attempt to commit suicide, he gave an emotional farewell to the soldiers of the Old Guard , assembled in the Court of Honor. Later, during the Hundred Days , he stopped there on 20 March 1815. In his memoirs, written while in exile on Saint Helena , he recalled his time at Fontainebleau; "...the true residence of kings, the house of the centuries. Perhaps it was not a rigorously architectural palace, but it was certainly a place of residence well thought out and perfectly suitable. It was certainly the most comfortable and happily situated palace in Europe." [ 21 ] Restoration and the reign of Louis-Philippe (1815–1848) [ edit ] Following the restoration of the monarchy , Kings Louis XVIII and Charles X each stayed at Fontainebleau, but neither made any major changes to the palace. Louis-Philippe I was more active, both restoring some rooms and redecorating others in the style of his period. The Hall of the Guards and Gallery of Plates were redecorated in a Neo-Renaissance style, while the Hall of Columns, under the ballroom, was remade in a neoclassical style. He added new stained glass windows, made by the Royal Manufactory of Sèvres . The Second Empire of Napoleon III [ edit ] Emperor Napoleon III , who had been baptized at Fontainebleau, resumed the custom of long stays at Fontainebleau, particularly during the summer. Many of the historic rooms, such as the Gallery of Deer, were restored to something like their original appearance, while the private apartments were redecorated to suit the tastes of the Emperor and Empress. Numerous guest apartments were squeezed into unused spaces of the buildings. The old theater of the palace, built in the 18th century, was destroyed by a fire in the wing of the Belle Cheminée 1856. Between 1854 and 1857 the architect Hector Lefuel built a new theater in the Louis XVI style , where famous actors from the theatres of Paris performed portions of plays for the guests of the Emperor. Guests of Napoleon III enjoying the carp pond (1862) Napoleon III receiving a delegation from the King of Siam in the ballroom (1864) On the ground floor of the Gros Pavilion, the Empress Eugénie built a small but rich museum, containing gifts from the King of Siam in 1861, and works of art taken during the pillage of the Summer Palace in Beijing. It also featured paintings by contemporary artists, including Franz Xaver Winterhalter , and the sculptor Charles Henri Joseph Cordier . Close by, in the Louis XV wing, the Emperor established his office, and the Empress made her Salon of Lacquer. These were the last rooms created by the royal residents of Fontainebleau. In 1870, during the Franco-Prussian War , the Second Empire fell, and the château was closed. [ 22 ] Third Republic to the present day [ edit ] During the Franco-Prussian War, the palace was occupied by the Prussian Army on 17 September 1870, and briefly used as an army headquarters by Frederick Charles of Prussia from March 1871. Following the war, two of the buildings became the home of the School of Applied Artillery , which had been forced to leave Alsace when the province was annexed by Germany . [ 23 ] It was occasionally used as a residence by the presidents of the Third Republic , and to welcome state guests including King Alexander I of Serbia (1891), King George I of Greece (1892) Leopold II of Belgium (1895) and King Alfonso XIII of Spain (1913). It also received a visit by the last survivor of its royal residents, the Empress Eugénie , on 26 June 1920. The façades the major buildings received their first protection by classification as historic monuments on 20 August 1913. In 1923, following World War I , it became home of the Écoles d'Art Américaines , schools of art and music, which still exist today. In 1927 it became a national museum. Between the wars the upper floors of the wing of the Belle Cheminée, burned in 1856, were rebuilt by a grant from the Rockefeller Foundation . During World War II, it was occupied by the Germans on 16 June 1940, and occupied until 10 November, and again from 15 May to the end of October 1941. Following the war, part of the château became a headquarters of the Western Union and later NATO 's Allied Forces Central Europe / Supreme Headquarters Allied Powers Europe , until 1966. The general restoration of the château took place between 1964 and 1968 under President Charles de Gaulle and his Minister of Culture, Andre Malraux . It was classified as a UNESCO World Heritage Site in 1981. In 2006, the Ministry of Culture purchased the royal stables, and began their restoration. Beginning in 2007, restoration began of the theater of the château, created by Napoleon III during the Second Empire. The project was funded by the government of Abu Dhabi , and in exchange the theater was renamed for Sheikh Khalifa bin Zayed Al Nahyan . It was inaugurated on 30 April 2014. [ 24 ] On 1 March 2015, the Chinese Museum of the château was robbed by professional thieves. They broke in at about six in the morning, and, despite alarms and video cameras, in seven minutes stole about fifteen of the most valuable objects in the collection, including the replica of the crown of Siam given by the Siamese government to Napoleon III, a Tibetan mandala , and an enamel chimera from the reign of the Qianlong Emperor (1736–1795). [ 25 ] Architecture [ edit ] Keep or tower of the Medieval château on the Oval Courtyard (12th century) Fine Fireplace Wing, built by Primaticcio for Catherine de Medici (1565-1570) Royal residence of Henry IV on the Oval Courtyard (1601-1606) "Golden Gate" portal to the oval courtyard (left) and Saturnin Chapel (right), rebuilt with new façade by Henry IV Stag's Callery and Diana's gallery, enclosed the Garden of Diana, between 1601 and 1606 Oval Courtyard and the Portal of the Baptistry (1601-1606) The enlarged Horseshoe stairway (1602) State Pavilion, designed by Ange-Jacques Gabriel (1750-1754), contained the updated apartments of the King and Queen and the Royal Council Chamber (1750-1754) View from the South across the Carp Pond. The State Pavilion (1750-1754) is to the left; the Courtyard of the Fountain is in the center, the Oval Courtyard (1601-1606) and early palace buildings are to the right Palace Interior [ edit ] Gallery of Francis I [ edit ] Gallery of Francis I , connecting the King's apartments with the chapel, was first decorated between 1533 and 1539. It introduced the Italian Renaissance style to France. "The Enlightenment of Francis I by Francesco Primaticcio "The Royal Elephant" (center) - "The abduction of Europa by Jupiter" (left),"The Abduction of Phylira by Saturn" (right) by Rosso Fiorentino The emblem of Francis I, a salamander surrounded by flames, is found above each painting The Gallery of Francis I is one of the first and finest examples of Renaissance decoration in France. It was begun in 1528 as a passageway between the apartments of the King with the oval courtyard and the great chapel of the Trinitarian monastery, but in 1531 Francis I made it a part of his royal apartments, and between 1533 and 1539 it was decorated by artists and craftsmen from Italy, under the direction of the painter Rosso Fiorentino , or Primaticcio, in the new Renaissance style. The lower walls of the passage were the work of the master Italian furniture maker Francesco Scibec da Carpi ; they are decorated with the coat of arms of France and the salamander , the emblem of the King. The upper walls are covered by frescoes framed in richly sculpted stucco. The frescoes depicted mythological scenes to illustrate the virtues of the King. On the side of gallery with windows, the frescoes represent Ignorance Driven Out ; The Unity of the State ; Cliobis and Biton ; Danae ; The Death of Adonis ; The Loss of Perpetual Youth ; and The Battle of the Centaurs and the Lapithes . On the side of the gallery facing the windows, the frescoes represent: A Sacrifice ; The Royal Elephant ; The Burning of Catane ; The Nymph of Fontainebleau (painted in 1860–61 by J. Alaux to cover a former entry to the gallery); The Sinking of Ajax ; The Education of Achilles and The Frustration of Venus . [ 26 ] Ballroom (1552) [ edit ] The Ballroom was created by King Henry II beginning in 1552 Musician's Gallery and the coffered ceiling of the ballroom Fireplace in the ballroom, flanked by statues of satyrs The ballroom was originally begun as an open passageway, or loggia, by Francis I. In about 1552 King Henry II closed it with high windows and an ornate coffered ceiling, and transformed it into a room for celebrations and balls. The 'H', the initial of the King, is prominent in the decor, as well as figures of the crescent moon, the symbol of Henry's mistress Diane de Poitiers . [ 27 ] In the 19th century King Louis Philippe added the elaborate wooden floor, which copies the original designs in the coffers of the ceiling. [ 28 ] At the eastern end is a monumental fireplace, which flanked with two statues of Satyrs copied by Primaticcio from Roman originals. (The current statues are later copies). Above the eastern end of the room is a gallery where the musicians played during balls. The decor was restored many times over the years. Hunter kills a boar in the forest of Orléans Fresco by Nicolo dell'Abate from designs by Primaticcio Fresco from design by Primaticcio Fresco from design by Primaticcio The frescoes on the walls and pillars were painted beginning in 1552 by Nicolo dell'Abate , following drawings by Primaticcio. On the garden side of the ballroom, they represent: The Harvest ; Vulcan forging weapons for Love at the request of Venus ; Phaeton begging the sun to let him drive his chariot ; and Jupiter and Mercury at the home of Philemon and Baucis . The floor, which mirrors the design of the ceiling, was crafted by Louis-Philippe in the first half of the 19th century. [ 29 ] The frescoes on the side of the Oval Courtyard represent: The feast of Bacchus ; Apollo and the Muses on Mount Parnassus ; The Three Graces dancing before the gods ; and The wedding feast of Thetis and Peleus . [ 30 ] Some of the fresco themes are more contemporary. A fresco above the fireplace depicts Sébastien de Rabutin, a huissier of the Court of Henry II, who in 1548 killed a wolf during a hunt in the forest of Orléans. Henry II commissioned the painting to commemorate the event. [ 31 ] Chapel of Saint Saturnin [ edit ] Ceiling of the Chapel with emblem of Henry II Dome over the chapel Behind the ballroom is St. Saturnin's Chapel. The lower chapel was originally built in the 12th century, but was completely rebuilt under Francis I with a richly coffered ceiling and dome. It was largely completed in 1546. The emblem of Henry II, the salamander, marks the keystones. [ 32 ] In 1554, under Henry II, the architect Philibert de l'Orme built a new organ loft, supported by two tall marble columns. Stained glass windows made in Sèvres, designed by Louis' daughter Marie , an artist, were installed in the 19th century during the Louis Philippe period. [ 33 ] The King's Staircase [ edit ] Paintings and sculpture in the King's Stairway King's Staircase (1748-1749) Decoration of the King's Staircase The stairway of the King was installed in 1748 and 1749, in the space occupied during the reign of Francis I by the bedroom of Anne de Pisseleu , the Duchess of Étampes, a favorite of the King. It was designed by the architect Ange-Jacques Gabriel , who used many decorative elements from the earlier room, which had originally been decorated by Primaticcio. The upper portion of the walls is divided into panels, oval and rectangular, with scenes representing the love life of Alexander the Great . The paintings are framed by large statues of women by Primaticcio. The eastern wall of the room was destroyed during the reconstruction, and was replaced during the reign of Louis Philippe in the 19th century with paintings by Abel de Pujol . [ 34 ] The Queen's bedchamber [ edit ] The bedchamber of the Queen Center of the bedroom ceiling, carved by Guillaume Noyers (1644) The Queen's bed, used by the Empresses Joséphine and Marie-Louise All of the queens and empresses of France, from Marie de' Medici to the Empress Eugènie , slept in the bedchamber of the Queen. The ornate ceiling over the bed was made in 1644 by the furniture-maker Guillaume Noyers for the Dowager Queen Anne of Austria , the mother of Louis XIV, and bears her initials. The room was redecorated by Marie Leszczynska , the Queen of Louis XV in 1746–1747. The ceiling of the alcove, the decoration around the windows and the wood panelling were made by Jacques Vererckt and Antoine Magnonais in the rocaille style of the day. The decoration of the fireplace dates to the same period. [ 35 ] The doors have an arabesque design, and were made for Marie Antoinette , as were the sculpted panels over the doors, installed in 1787. The bed was also made specially for Marie Antoinette, but did not arrive until 1797, after the Revolution and her execution. As a result it escaped the sales of the château furnishings which took place immediately after the Revolution. It was used instead by Napoleon's wives, the Empress Joséphine and Marie-Louise of Austria . [ 36 ] The walls received their ornamental textile covering, with a design of flowers and birds, in 1805. It was restored in 1968–1986 using the original fabric as a model. The furniture in the room all dates to the First Empire . The balustrade around the bed was originally made for the throne room of the Tuileries Palace in 1804. The armchairs with a sphinx pattern, the consoles and screen and the two chests of drawers were placed in the room in 1806. [ 35 ] Boudoir of Marie-Antoinette (1786) [ edit ] Boudoir of Queen Marie Antoinette (1786) Doorway sculpture by Sauvage with initials of Marie Antoinette (1787) Ceiling of angels painted by Bourgeois and Touze (1786) Decorative panel in the Queens's boudoir The boudoir next to the queen's bedroom was created for Queen Marie Antoinette in 1786, and permitted the queen to have a measure of privacy. The room is the best surviving example of the decorative style just before the French Revolution, inspired by ancient Roman models, with delicately painted arabesques, cameos, vases, antique figures and garlands of flowers against a silver background, framed by gilded and sculpted woodwork. [ 37 ] The room was made for the Queen by the same team of artists and craftsmen who also made the game room; the design was by the architect Pierre Rousseau (1751–1829). The wood panelling was sculpted by Laplace, and painted by Michel-Hubert Bourgeois and Louis-François Touzé. Eight figures of the Muses were made in plaster by Roland; the ornate mantle of the fireplace was made by Jacques-François Dropsy, and decorated with glided bronze works by Claude-Jean Pitoin. The mahogany parquet floor, decorated with the emblems of the Queen, was made by Bernard Molitor , and finished in 1787. The painted ceiling, by Jean-Simon Berthélemy , shows Aurora with a group of angels. [ 38 ] The furnishings were designed for the room by Jean-Henri Riesener , using the finest materials available; mother of pearl, gilded bronze, brass, satin and ebony. Some of the original furnishings remain, including the cylindrical desk and the table, which were made between 1784 and 1789. The two armchairs are copies of the originals made by Georges Jacob which are now in the Gulbenkian Museum in Lisbon, while the footstool is the original. [ 38 ] Games Room of Marie-Antoinette and Grand Salon of the Empress Eugenie (1786) [ edit ] Arabesque decoration of the First French Empire Ceiling of the Grand Salon, ""The Muses being crowned by Minerva" by Jean-Simon Berthélemy (1786) Sevres vases Arabseque wall panel (18th century) The Games Room was created for Marie Antoinette in 1786, and is a notable example of the Arabesque style popular in the First French Empire in the 18th century. The walls are filled with large wall panels, with grisaille and monochrome depictions twining plants, women in flowing robes, dancers, mermaids, torches and vases. The same designs appear in gilding on the mahogany doors. [ 39 ] The room is now furnished in the Empire style . The chairs followed the rules of protocol, with armchairs for the Emperor and Empress, chairs for princesses, and folding chair and stools covered with green velvet trimmed with gold for the guests. The Queen's Small Salon or the White Salon (1835) [ edit ] The White Salon was created in 1835 as a salon for Queen Marie-Amelie , the wife of King Louis Philippe to replace the Queen's Study of Marie de Medici. Just one element of the 17th century salon, remains; paintings by Amboise Dubois depicting the legend of Tancred and Clorinda. It is one of the best examples of the 19th century style of Louis-Philippe, which blended together earlier styles; it combined wainscotting from the reign of Louis XV of France, along with a Louis XVI style fireplace, an Empire style chimney, and armchairs by Jacob-Freres and Jacob Desmalter and other prominent designers of the early 19th century. [ 39 ] Bed chamber of the Kings of France and Throne Room of Napoleon [ edit ] Bed Chamber of the Kings of France and Throne Room of Napoleon Decor from throne room of Louis XV (1752-54) Ceiling decoration from throne room of Louis XV (1752-54) In 1808 Napoleon decided to install his throne in the former bedroom of the kings of France from Henry IV to Louis XVI, on the place where the royal bed had been. Under the Ancien régime , the King's bed was a symbol of royal authority in France and was saluted by courtiers who passed by it. Napoleon wanted to show the continuity of his Empire with the past monarchies of France. [ 40 ] The majority of the carved wood ceiling, the lower part of the wood panelling, and the doors date to the reign of Louis XIII. The ceiling directly over the throne was made at the end of the reign of Louis XIV. Louis XV created a new chimney, sculpted wooden medallions near the fireplace, the designs over the doors, and the fine carved woodwork facing the throne (1752–54). He also had the ceiling painted white and gilded and decorated with mosaics, to match the ceiling of the bedroom of the Queen. [ 40 ] Napoleon added the standards with his initial and the Imperial eagle. The decoration around the throne was originally designed in 1804 by Jacob-Desmalter for the Château de Saint-Cloud , and the throne itself, made in 1804, came from the Tuileries Palace. [ 41 ] The chimney was originally decorated with a portrait of Louis XIII painted by Philippe de Champaigne , which was burned in 1793 during the French Revolution . Napoleon replaced it with a portrait of himself, by Robert Lefèvre . In 1834, King Louis-Philippe took down Napoleon's picture and replaced with another of Louis XIII, from a painter of the school of Champaigne. [ 41 ] Council Chamber [ edit ] The Council Chamber Council Chamber decoration (1751-54) A ceiling painting by Francois Boucher (1751-1754) The Council Chamber, where French Kings and later the Emperors Napoleon I and Napoleon III met their closest advisors, was close to the Throne Room. It was originally the office of Francis I, and was decorated with painted wooden panels with illustrations by Primaticcio depicting the virtues and the heroes of antiquity. The room was enlarged under Louis XIV, and the decorator, Claude Audran , followed the same theme. [ 42 ] The room was extensively redecorated between 1751 and 1754 by the architect Ange-Jacques Gabriel , with arcades and wooded panels illustrating the Virtues, and allegories of the seasons and the elements, painted by Jean-Baptiste Marie Pierre and Carle van Loo , the latter painted his scenes in blue monochrome, while Pierre used pink monochrome. [ 42 ] The painter Alexis Peyrotte added another series of medallions on the upper walls depicting floral themes, the sciences and arts. [ 42 ] The five paintings on the vaulted ceiling were the work of François Boucher , and illustrate the Four Seasons and the sun beginning his journey and chasing away the night. [ 42 ] A half-rotonda on the garden side of the room was added by Louis XV in 1773, with a painted ceiling by Louis-Jean-François Lagrenée depicting Glory surrounded by his children. [ 43 ] The room was used as a council chamber by Napoleon I, and the furnishings are from that time. The armchairs at the table for the ministers are by Marcion (1806) and the folding chairs for advisors were designed by Jacob-Desmalter (1808). [ 44 ] Apartment of Napoleon [ edit ] In 1804 Napoleon decided that he wanted his own apartments within the palace, separate from the old royal apartments. He took over a suite of six rooms which had been created in 1786 for Louis XVI, next to the Gallery of Francis I, and had them redecorated in the Empire style. The old apartment included a dressing room ( cabinet de toilette ), study, library, and bath. [ 45 ] Emperor's bedchamber [ edit ] Bedroom of the Emperor Napoleon (1808–1814) The bed of the Emperor Wall panelling carved by Laplace for Louis XV, painted for Napoleon I with emblems of the Emperor Beginning in 1808, Napoleon had his bedchamber relocated the former dressing room of the King. From this room, using a door hidden behind the drapery to the right of the bed, Napoleon could go directly to his private library or to the offices on the ground floor. [ 46 ] [ 45 ] Much of the original decor was unchanged from the time of Louis XVI; the fireplaces, the carved wooden panels sculpted by Pierre-Joseph LaPlace and the sculpture over the door by Sauvage remained as they were. The walls were painted with Imperial emblems in gold on white by Frederic-Simon Moench. The bed, made especially for the Emperor, was the summit of the Empire style; it was crowned with an imperial eagle and decorated with allegorical sculptures representing Glory, Justice, and Abundance. [ 45 ] The Emperor had a special carpet made by Sallandrouze in the shape of the cross of the Legion of Honor ; the branches of the cross alternate with symbols of military and civilian attributes. [ 47 ] The chairs near the fireplace were specially designed, with one side higher than the other, to contain the heat from the fire while allowing the occupants to see the decorations of the fireplace. [ 46 ] [ 45 ] The painting on the ceiling of the room was added later, after the downfall of Napoleon, by Louis XVIII . Painted by Jean-Baptiste Regnault , it is an allegory representing The clemency of the King halting justice in its course. [ 45 ] [ 45 ] Other rooms in the Emperor's apartment [ edit ] The Study, With a camp bed, where Napoleon could work late at night Bathroom of the Emperor, with cotton-skirted bathtub and foot basin The table where Napoleon signed his abdication at Fontainebleau on 4 April 1814, before his exile to Elba The small bedchamber often served as Napoleon's work room. In 1811 he added the camp bed, similar to the bed he used on his military campaigns. He could rest briefly, then take a back stairway to continue working in the library or map room on the floor below. The private salon or study of the Emperor was simply furnished and decorated. It was in this room, on the small table on display, that the Emperor signed his abdication in 1814. The small and simple bathroom of the Emperor had a tinned copper bathtub surrounded by a simple cotton skirt, where he could soak in hot water. It also had a varnished metal tub where he could soak his feet. [ 48 ] Apartment of the Pope and the Queen-Mothers [ edit ] Antechamber of the Bedroom of the Queen Mother Tapestry in the antechamber of the bedroom of the Queen Mother (Mid-17th century) Tapestries in the bedroom of the Queen Mother Bedroom of the Queen-Mother Anne of Austria (Mid-17th century) The apartment of the Pope, located on the first floor of the wing of the Queen Mothers and of the Gros Pavillon, takes its name from the 1804 visit of Pope Pius VII, who stayed there on his way to Paris to crown Napoleon the Emperor of France. He stayed there again, involuntarily, under the close supervision of Napoleon from 1812 to 1814. [ 49 ] It was originally designed to be the bedroom of Henry II, but after his assassination, it became instead the apartment of his widow, the Queen Mothers Marie de' Medici and Anne of Austria . It was also the home of Louis, Grand Dauphin , the oldest son of Louis XIV. In the 18th century it was used by the daughters of Louis XV, and then by the Count of Provence, the brother of Louis XVI. During the First Empire it was used by Louis Bonaparte , the brother of Napoleon, and his wife Queen Hortense de Beauharnais , the daughter of the Empress Joséphine. During the reign of Louis-Philippe, it was used by his eldest son, Ferdinand Philippe, Duke of Orléans . During the Second Empire , it was occupied by Stéphanie de Beauharnais , the adopted niece of Napoleon I. It was restored in 1859–1861, and used thereafter for guests of high rank. [ 40 ] It was originally two apartments, which were divided or joined over the years depending upon its occupants. Other notable guests in the apartment included James II , the deposed King of England. and the Russian czar Peter the Great (1717). [ 50 ] The Salon de Reception was the antechamber to the bedroom of Anne of Austria, wife of Louis XIII and mother of Louis XIV. It features a gilded and sculpted ceiling divided into seven compartments, representing the sun and the known planets, along with smaller compartments for military trophies; it was created in 1558 by Ambroise Perret for the bedroom of Henry II in the Pavilion des Poeles, a section of the château that was later destroyed. Anne had it moved to the room and decorated with her own emblems, including a pelican. The wood paneling in the room is probably from the same period. [ 40 ] The decor of the bedroom dates largely to the 1650s; it includes grotesque paintings in compartments on the ceiling, attributed to Charles Errard ; richly carved wood paneling featuring oak leaves and putti ; and paintings over the doors of Anne of Austria costumed as Minerva and Maria Theresa of Spain costumed as Abundance, both painted by Gilbert de Sève. The bedroom was modified in the 18th century by the addition of a new fireplace (about 1700) and sculptured borders of cascades of flowers around the mirrors added in 1784. During the Second Empire, painted panels imitating the style of the 17th century were added above the mirrors and between the mirrors and the doors. [ 51 ] Chapel of the Trinity (17th century) [ edit ] Trinity Chapel The royal tribune or gallery The Altar Ornament over the chapel gallery with the coats of arms of France and of the Medici Family The Chapel of the Trinity was begun at the end of the reign of Francis I to replace the old chapel of the convent of the Trinitarians. It was finished under Henry II, but was without decoration until 1608, when the painter Martin Freminet was commissioned to design frescoes for the ceiling and walls. The sculptor Barthèlemy Tremblay created the vaults of the ceiling out of stucco and sculpture. [ 52 ] The paintings of Freminet in the central vaults depict the redemption of Man, from the appearance of God to Noah at the launching of the Ark (Over the tribune) to the Annunciation . They surrounded these with smaller paintings depicting the ancestors of the Virgin Mary , the kings of Judah , the Patriarchs announcing the coming of Christ, and the Virtues. Between 1613 and 1619 Freminet and Tremblay added paintings in stucco frames between the windows on the sides of the chapel, depicting the life of Christ. [ 53 ] Freminet died in 1619 and work did not resume until 1628. [ 52 ] The Trinity chapel, like Sainte-Chapelle in Paris other royal chapels, had an upper section or tribune, where the King and his family sat, with a separate entrance; and a lower part, where the rest of the Court was placed. Beginning in 1628, the side chapels were decorated with iron gates and carved wood panelling, and the Florentine sculptor Francesco Bordoni began work on the marble altar. The figure to the left depicts Charlemagne , with the features of Henry II, while the figure on the right depicts Louis IX , or Saint Louis, with the features of Louis XIII , his patron. Bordoni also designed the multicolored marble pavement before the altar and the on the walls of the nave. [ 52 ] The painting of the Holy Trinity over the altar, by Jean Dubois the Elder , was added in 1642. [ 53 ] In the mid-17th century the craftsman Anthony Girault made the sculpted wooden doors of the nave. while the Jean Gobert made the doors of the tribune where the royal family worshipped. [ 54 ] In 1741, the royal tribune was enlarged, while ornate balconies of wrought iron were added between the royal tribune and the simpler balconies used by the musicians and those who chanted the mass. In 1779, under Louis XVI, the frescoes of Freminet illustrating the life of Christ, which had deteriorated with time, were replaced by new paintings on the same theme. The paintings were done in the same style by about a dozen painters from the Royal Academy of Painting and Sculpture . [ 54 ] On 5 September 1725, the chapel was the setting for the wedding of Louis XV and Marie Leszczyńska . Napoleon III was baptized there on 4 November 1810, and Ferdinand Philippe, Duke of Orléans , the son of King Louis-Philippe , was married there to Duchess Helene of Mecklenburg-Schwerin on 30 May 1837. Under Napoleon, the old tabernacle of the chapel, which had been removed during the Revolution, was replaced by a new one designed by the architect Maximilien Joseph Hurtault . Beginning in 1824, the chapel underwent a program of major renovation and restoration that lasted for six years. The twelve paintings of the life of Christ were removed, as well as the gates to the side chapels. During the Second Empire, the wood panelling of side chapels was replaced. The restoration was not completed until the second half of the 20th century, when the twelve paintings, which had been scattered to different museums, were brought together again and restored in their stucco frames. [ 55 ] Between 1772 and 1774, a small organ made by François-Henri Cilquot was installed on the left side of the chapel, near the altar. [ 56 ] Room of the Guards (begun 1570s, redone in 19th century) [ edit ] Vase in the Room of the Guards (1832) The Room of the Guards Fireplace in the Room of the Guards (1836) A room for the guards was always located next to the royal bedchambers. The Salle des Gardes was built during the reign of Charles IX . Some traces of the original decor remain from the 1570s, including the vaulted ceiling and a frieze of military trophies attributed to Ruggiero d'Ruggieri. In the 19th century Louis Philippe turned the room into a salon and redecorated it with a new parquet floor of exotic woods echoing the design of the ceiling, and a monumental fireplace (1836), which incorporates pieces of ornament from demolished rooms from 15th and early 16th century. The bust of Henry IV, attributed to Mathieu Jacquet, is from that period, as are the two figures on either side of the fireplace. The sculpted frame around the bust, by Pierre Bontemps, was originally in the bedchamber of Henry II . The decorations added by Louis Philippe include a large vase decorated with Renaissance themes, made by the Sèvres porcelain manufactory in 1832. During the reign of Napoleon III , the hall was used as a dining room. [ 57 ] [ 58 ] Gallery of Diana [ edit ] The Gallery of Diana (17th and 19th century) Scenes from life of the Goddess Diana (1605) The Gallery of Diana, an eighty-meter (242.4 feet) long corridor now lined with bookcases, was created by Henry IV at the beginning of the 17th century as a place for the Queen to promenade. The paintings on the vaulted ceiling, painted beginning in 1605 by Ambroise Dubois and his workshop, represented scenes from the myth of Diana , goddess of the Hunt. [ 59 ] At the beginning of the 19th century, the gallery was in ruins. In 1810 Napoleon decided to turn it into a gallery devoted to the achievements of his Empire. A few of the paintings still in good condition were removed and put in the Gallery of Plates. The architect Hurtault designed a new plan for the gallery, inspired by the Grande Galerie of the Louvre, featuring paintings on the ceiling illustrating the great events of Napoleon's reign. By 1814 the corridor had been rebuilt and the decorative painted frames painted by Moench and Redouté , but the cycle of paintings on the Empire had not been started, when Napoleon fell from power. [ 60 ] Once the monarchy was restored, King Louis XVIII had the gallery completed in a neoclassical style. A new series of the goddess Diana was done by Merry-Joseph Blondel and Abel de Pujol , using the painted frames prepared for Napoleon's cycle. [ 59 ] Paintings were also added along the corridor, illustrating the history of the French monarchy, painted in the Troubador style of the 1820s and 1830s, painted by a team of the leading academic painters. Beginning in 1853, under Napoleon III, the corridor was turned into a library and most of the paintings were removed, with the exception of a large portrait of Henry IV on horseback by Jean-Baptiste Mauzaisse . The large globe near the entrance of the gallery, placed there in 1861, came from the office of Napoleon in the Tuileries Palace . [ 60 ] Chinese Museum [ edit ] The Chinese Museum created by the Empress Eugenie (1867) Panels and vases in the Chinese Museum Panel and vase from the Qing dynasty Main article: Chinese Museum (Fontainebleau) The Chinese Museum, on the ground floor of the Gros Pavillon close to the pond, was among the last rooms decorated within the château while it was still an imperial residence. In 1867, the Empress Eugénie had the rooms remade to display her personal collection of Asian art, which included gifts given to the Emperor by a delegation sent by the King of Siam in 1861, and other objects taken during the destruction and looting of the Old Summer Palace near Beijing by a joint British-French military expedition to China in 1860. [ 61 ] [ 62 ] The objects displayed in the antechamber include two royal palanquins given by the King of Siam, one designed for a king and the other (with curtains) for a queen. Inside the two salons of the museum, some of the walls are covered with lacquered wood panels in black and gold, taken from 17th century Chinese screens, along with specially designed cases to display antique porcelain vases. Other objects on display include a Tibetan stupa containing a Buddha taken from the Summer Palace in China; and a royal Siamese crown given to Napoleon III. The salons are lavishly decorated with both Asian and European furnishings and art objects, including silk-covered furnishings and Second Empire sculptures by Charles Cordier and Pierre Alexandre Schoenewerk . The room also served as a place for games and entertainment; an old bagatelle game and a mechanical piano from that period are on display. [ 63 ] In addition to the Chinese Museum, the Empress created a small office in 1868, the Salon of Lacquerware, which also decorated with lacquered panels and Asian art objects, on the ground floor of the Louis XV wing, not far from the office of the Emperor. This was the last room decorated before the fall of the Empire, and the eventual transformation of the château into a museum. [ 63 ] Theatre [ edit ] Theater stage (1854) The Emperor's box Chandelier of the theater Concerts, plays and other theatrical productions were a regular part of court life at Fontainebleau. Prior to the reign of Louis XV these took place in different rooms of the palace, but during his reign a theatre was built in the Belle-Cheminée wing. It was rebuilt by the architect Gabriel, but was destroyed by a fire in 1856. It had already been judged too small for the court of Napoleon III, and a new theatre had been begun in 1854 at the far eastern end of the wing of Louis XIV. It was designed by architect Hector Lefuel in the Louis XVI style , and was inspired by the Royal Opera of Versailles and the Théâtre de la Reine at the Petit Trianon . The new theatre, with four hundred seats arranged in a parterre, two balconies and boxes in a horseshoe shape, was finished in 1856. It has the original stage machinery, and many of the original sets, including many transferred from the old theatre before the fire of 1856. [ 64 ] [ 65 ] The theatre was closed after the end of the Second Empire and was rarely used. A restoration began in 2007, funded with ten million Euros by the government of Abu Dhabi . In exchange, the theatre was renamed for Sheikh Khalifa bin Zayed Al Nahyan . It was inaugurated on 30 April 2014. The theatre can be visited, but it no longer can be used for plays because some working parts of the theater, including the stage, were not included in the restoration. As of April 2024 there is little to be seen in the theatre, except the royal box and empty stage. [ 24 ] Park and gardens [ edit ] Château and gardens in about 1650 Statue of the Tiber in the round basin, a copy of an ancient Roman statue now in the Louvre The canal, round basin, parterre and behind, the château The gardens of Fontainebleau illustrate three centuries of French landscape gardening. When Francis I began building the château, he surrounded it with formal gardens. In the 16th century Catherine de' Medici created a French Renaissance garden , inspired by the Italian Renaissance garden , filled with statuary. Henry IV greatly expanded the gardens. Between 1606 and 1609, Henry built a grand canal that extended for 1200 meters in length, similar to one at the nearby château of Fleury-en-Bière. Louis XIV commissioned André Le Nôtre to create a distinctly classical French formal garden at the end of the 18th century. During the First Empire of Napoleon I, the royal landscape architect, Maximilien Joseph Hurtault , created an English landscape garden with winding paths and picturesque groves of trees. [ 66 ] On the other side of the château, on the site of the garden of Francis I, Henry IV created a large formal garden, or parterre . Between 1660 and 1664 the chief gardener of Louis XIV, André Le Nôtre , and Louis Le Vau rebuilt the parterre on a grander scale, filling it with geometric designs and paths bordered with boxwood hedges and filled with colorful flowerbeds. They also added a basin called Les Cascades, surrounded by waterfalls, at the head of the canal. Le Nôtre planted shade trees along the length of the canal, and also laid out a wide path, lined with elm trees, parallel to the canal. [ 67 ] The fountains of Louis XIV were removed after his reign. In the 19th century the cascades were decorated with works of classical sculpture. A large ornamental fountain was installed in the central basin in 1817. A bronze replica of an ancient Roman statue, "The Tiber", was placed in the round basin in 1988. It replaced an earlier statue from the 16th century which earlier had decorated the basin. Two statues of sphinxes by Mathieu Lespagnandel, from 1664, are placed near the balustrade of the grand canal. [ 68 ] Garden of Diana [ edit ] Garden of Diana, in front of the King's apartments Fountain of Diana (17th century) The Garden of Diana, the goddess of the hunt, was created during the reign of Henry IV; it was the private garden of the King and Queen, and was visible from the windows of their rooms. The fountain of Diana was originally in the center of garden, which at that time was enclosed by another wing, containing offices and later, under, Louis XIV, an orangerie. That building, and another, the former chancellery, were demolished in the 19th century, doubling the size of the garden. [ 69 ] From the 17th until the end of the 18th century, the garden was in the Italian and then the French formal style, divided by straight paths into rectangular flower beds, centered on the fountains and decorated with statues, ornamental plants and citrus trees in pots. It was transformed during the reign of Napoleon I into a landscape garden in the English style, with winding paths and trees grouped into picturesque landscapes, and it was enlarged during the reign of Louis-Philippe. It was opened to the public during the Third Republic . [ 70 ] The fountain in the center was made by Tommaso Francini , the master Italian fountain-maker, whose work included the Medici Fountain in the Jardin du Luxembourg in Paris. The bronze statue of Diana, the goddess of the hunt, with a young deer, was made by the Keller brothers in 1684 for another royal residence, at Marly . It is a copy of an antique Roman statue, Diana of Versailles , which was given by Pope Paul IV to King Henry IV, and which is now in the Louvre . The original statue of the fountain, made by Barthelemy Prieur in 1602, can be seen in the Gallery of the Deer inside the palace. The sculptures of hunting dogs and deer around the fountain were made by Pierre Biard l'Aîné . [ 71 ] Carp pond and the pavilion [ edit ] Fountain Court and the carp pond The pavilion, first built by Louis XIV, then modified by Napoleon Carp Pond facing the château The large pond next to the palace, with a surface of four hectares, was first stocked with carp during the reign of Henry IV, and was used for boating parties by members of the Court, and as a source of fish for the table and for amusement. [ 72 ] Descriptions of the palace in the 17th century tell of guests feeding the carp, some of which reached enormous size, and were said to be a hundred years old. The small octagonal house on an island in the center of the lake, Pavillon de l'Ètang, was added during the reign of Louis XIV, then rebuilt under Napoleon I, and is decorated with his initial. [ 67 ] [ 69 ] English garden [ edit ] Statue of a Naiad facing the Belle-Eau fountain. Fountain and grotto of the pine garden of Francis I (16th c.) The garden was originally created by Francis I as the Pine Garden. At the far corner of the English garden close to the palace is the only remaining element of the original gardens of Francis I; the first Renaissance-style grotto to be built in a French garden, decorated with four statues of Atlas. [ 72 ] Under Napoleon's landscape architect, Maximilien Joseph Hurtault , this part of the garden was developed into an English park , with winding paths and exotic trees, including planting of catalpa , tulip trees , sophora and cypress trees from Louisiana, and introduction of a picturesque stream and antique boulders. The garden features two 17th century bronze copies of ancient Roman originals, the Borghese Gladiator and the Dying Gaul . A path leads from the garden through a curtain of trees to the Belle-Eau Fountain or "Fontaine Belle-Eau" ("Spring of beautiful water"), a natural spring which in the 17th century gave its name to the palace and gardens. The fountain was rebuilt with an octagonal basin in 1891 and a classical statue of Hera , or the " Naiad of Belle-Eau, was added close by. In the 1980s, to bring more contemporary art into the gardens, a group of statues of mythical figures entirely unrelated to the château's history was placed close around the fountain. [ 73 ] [ 67 ] [ 74 ] Art and decoration – the School of Fontainebleau [ edit ] Main article: School of Fontainebleau Painting by Rosso Fiorentino in the Gallery of Francis I (1533–1539) Detail of stucco and woodwork in the Gallery of Francis I, by Francesco Scibec da Carpi (died c.1557) Diana the Huntress , School of Fontainebleau (1550–1560) During the late French Renaissance , the decoration of the Palace of Fontainebleau engaged some of the finest artists and craftsmen from Italy and France. The style of painting and decoration they created became known as the School of Fontainebleau , and covered a period from about 1530 until about 1610. It helped form the French version of Northern Mannerism . [ 75 ] Apollo , Pan , and a putto blowing a horn, from a series of eight compositions after Francesco Primaticcio 's designs for the ceiling of the Ulysses Gallery (destroyed 1738–39). Giorgio Ghisi after Francesco Primaticcio, Three Muses and a Gesturing Putto, 1560s Three Muses and a putto above with a lyre, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738–39) at Fontainebleau MET Three Muses and a Putto with a Cymbals Hercules, Bacchus, Pan, and Saturn(?), from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738–39) at Fontainebleau Pluto, Neptune, Minerva, and Apollo, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738–39) at Fontainebleau MET DP821340 Venus and Cupid, two other goddesses and a putto, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738–39) at Fontainebleau MET DP821341.jpg Ceres Seated on Clouds with Two Goddesses and Two Putti, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738–39) at Fontainebleau Ulysses and His Companions Fighting the Cicones Before the City of Ismaros, Study for a Destroyed Fresco in the Galerie d'Ulysee, Château de Fontainebleau In 1531, the Florentine artist Rosso Fiorentino , having lost most of his possessions at the Sack of Rome in 1527, was invited by Francis I to work on the interior of the palace. In 1532 he was joined by another Italian artist, Francesco Primaticcio (from Bologna ). Rosso died in France in 1540. On the advice of Primaticcio, Niccolò dell'Abbate (from Modena ) was invited to France in 1552 by François's son Henry II . Other notable artists included: Juste de Juste (c.1505–1559), Franco-Italian sculptor and etcher Luca Penni (c.1500/1504–1556), Italian painter Francesco Scibec da Carpi (died c.1557), Italian furniture maker Benvenuto Cellini (1500–1570), Italian sculptor, goldsmith, silversmith The works of this "first school of Fontainebleau" are characterized by the extensive use of stucco (moldings and picture frames) and frescos , and an elaborate (and often mysterious) system of allegories and mythological iconography. Renaissance decorative motifs such as grotesques , strapwork and putti are common, as well as a certain degree of eroticism. The figures are elegant and show the influence of the techniques of the Italian Mannerism of Michelangelo , Raphael and especially Parmigianino . Primaticcio was also directed to make copies of antique Roman statues for the king, thus spreading the influence of classical statuary. Many of the works of Rosso, Primaticcio and Niccolò dell'Abbate have not survived as parts of the château were remodelled at various dates. The paintings of the group were reproduced in prints , mostly etchings , which were apparently produced initially at Fontainebleau itself, and later in Paris. These disseminated the style through France and beyond, and also record several paintings that have not survived. From 1584 to 1594, during the Wars of Religion work inside the palace was abandoned. Upon his ascension to the throne, Henry IV undertook a renovation of the Fontainebleau buildings using a group of artists: the Flemish born Ambroise Dubois (from Antwerp) and the Parisians Toussaint Dubreuil and Martin Fréminet . They are sometimes referred to as the "second school of Fontainebleau". Their late mannerist works, many of which have been lost, continued in the use of elongated and undulating forms and crowded compositions. Many of their subjects include mythological scenes and scenes from works of fiction by the Italian Torquato Tasso and the ancient Greek novelist Heliodorus of Emesa . The important artists of the second school (from 1594) were: Ambroise Dubois (c.1542–1614) ( Flemish born) Toussaint Dubreuil (c.1561–1602) Martin Fréminet (1567–1619) The mannerist style of the Fontainebleau school influenced French artists (with whom the Italians worked) such as the painter Jean Cousin the Elder , the sculptors Jean Goujon and Germain Pilon , and, to a lesser degree, the painter and portraitist François Clouet the son of Jean Clouet . The Fontainebleau style combined allegorical paintings in moulded plasterwork where the framing was treated as if it were leather or paper, slashed and rolled into scrolls and combined with arabesques and grotesques . Fontainebleau ideals of female beauty are Mannerist: a small neat head on a long neck, exaggeratedly long torso and limbs, small high breasts—almost a return to Late Gothic beauties. The new works at Fontainebleau were recorded in refined and detailed engravings that circulated among connoisseurs and artists. Through the engravings by the " School of Fontainebleau " this new style was transmitted to other northern European centers, Antwerp especially, Germany, and eventually London. While Louis XIV spent more time at Fontainebleau than any other monarch, he made most of his modifications to gardens, rather than the interiors and decor. In the 18th century, interiors underwent major changes in style. Between 1750 and 1754, the architect Ange-Jacques Gabriel built a new residential wing and new apartments for Louis XV and the Queen. The most famous artists of the period, including François Boucher , Charles-André van Loo , Alexis Peyrotte and Jean-Baptiste Marie Pierre were commissioned to paint works for the Council Chamber. Louis XVI continued the decoration work, particularly in the Turkish cabinet (1777) and the game room and boudoir of the Queen (1786–1787), in an arabesque style up to the eve of the Revolution. Fontainebleau offers many of the best examples of interior design at the end of the Ancien régime. Napoleon I wished to continue the traditional grandeur of the monarchy, and had the palace completely refurnished. He created a new suite of rooms with the symbols and style of the Empire, and transformed the former king's bedroom into his throne room. It is the only throne room in France which is still in its original state with its original furniture. The rooms Napoleon used at Fontainebleau are among the best existing examples of the Empire style . [ 19 ] 1542 Cellini statue which would have flanked the Nymphe de Fontainebleau The Nymph of Fontainebleau, by Benevenuto Cellini , now in the Louvre (1542) 1542 Cellini statue which would have flanked the Nymphe de Fontainebleau Painting by Rosso Fiorentino in the Gallery of Francis I (1533–1539) Allegory of painting and sculpture , by Ambroise Dubois (1543–1614) Panel in the Gallery of Francis I. (Mid-16th century). Portrait of Gabrielle d'Estrées and her sister, the Duchess of Villars , c.1594 Master of the school of Fontainebleau, Lady at her Toilet (1585–1595) ( Musée des Beaux-Arts de Dijon ) The ceiling of the ballroom, designed by Philibert de l'Orme , with the symbols of Henri II and his mistress Diane de Poitiers : "HD" cyphers, three interlaced crescent moons, and Henri II's main cypher: a crowned H above a crescent moon Decorative carved panel in the Gallery of Francis I, with his emblem, the salamander (mid 16th century). The ceiling of the throne room of Napoleon I. The ceiling was originally made for Louis XIII in the 17th century, when this was his bedroom. Ceiling panel in the hall of Saint Louis, built by Louis XV (18th century) Decoration over the door in the boudoir of Marie Antoinette , with her initials, (late 18th century). The bed of Marie Antoinette, ordered for her just before the French Revolution. It was used by the Empresses Josephine and Marie-Louise. Museum of Napoleon I [ edit ] Cradle of the King of Rome in the Museum of Napoleon I The Museum of Napoleon I was created in 1986 in the wing on the right side of the Court of Honor, where the apartments of the princes of the First Empire had been located. It includes a gallery of portraits of members of Napoleon's family, medals and decorations, several costumes worn during Napoleon's coronation as Emperor, and a gold leaf from the crown he wore during the coronation; a large collection of porcelain and decorative objectives from the Imperial dining table, and a cradle, toys, and other souvenirs from the Emperor's son, the King of Rome . It also has a collection of souvenirs from his military campaigns, including a recreation of his tent and its furnishings and practical items which he took with him on his campaigns. [ 76 ] See also [ edit ] Treaty of Fontainebleau Chasselas de Thomery List of tourist attractions in Paris References [ edit ] Notes and citations [ edit ]
|
|
1,139
|
0.41528°W
|
52.99667°N
|
Sleaford Castle
|
https://en.wikipedia.org/wiki/Sleaford_Castle
| 3,583
|
United Kingdom
|
Medieval castle in Lincolnshire, England Sleaford Castle Sleaford , Lincolnshire , England Aerial view of the castle (2020) Sleaford Castle Coordinates 52°59′48″N 0°24′55″W / 52.99667°N 0.41528°W / 52.99667; -0.41528 Grid reference grid reference TF064455 Site history Materials Stone Remaining earthworks of Sleaford Castle Sleaford Castle is a medieval castle in Sleaford , Lincolnshire , England . Built by the Bishop of Lincoln in the early 1120s, it was habitable as late as 1555 but fell into disrepair during the latter half of the 16th century. Two English monarchs are known to have stayed at the castle, King John and Henry VIII . Medieval era [ edit ] The castle was built between 1123 and 1139 by Alexander de Blois , Bishop of Lincoln from 1123 to 1147. Alexander built a quadrilateral castle, akin to his construction at Newark Castle , with square towers and massive keep. He sited it on flat fen rather than on high ground, perhaps even replacing an earlier moated manor house on the site. [ 1 ] 1872 plan of the castle The building fulfilled its manor house function for most of its life, never withstanding an armed attack or siege but becoming one of the chief episcopal strongholds and an agricultural focus for the Bishop’s estates in Sleaford and elsewhere. An outline of a 40 by 15 metre tithe barn (said to be the largest in England, and with a cattle shed and hay loft attached) can still be seen in the southern half of the castle. [ 2 ] A dam was placed across the river Slea at the end of Westgate, with a two-wheeled watermill behind it, producing large quantities of agricultural products for the local people. [ 3 ] The nearest the castle came to a siege were on two occasions when the bishop was forced to hand over his keys to King Stephen during the Anarchy (by Alexander himself, to buy his release after Stephen's successful siege of Newark Castle) and to Edward II in the 1320s when his loyalties were doubted. [ 4 ] King John spent a night in the castle in October 1216 just after his disastrous crossing of the Wash and just before his death, and in 1430 Bishop Richard Fleming died in the castle. [ 5 ] Early modern period [ edit ] Henry VIII stayed at Sleaford twice (once in 1541 with his queen Catherine Howard ) and held a State Council at the Castle. The castle passed into the hands of the Duke of Somerset in 1544, from whom it was confiscated by the crown in 1546. On both occasions, and in 1555, it was still said to be defensible and habitable. John Leland described it at this time as well maintained with a gatehouse, which housed two portcullises, and a high central tower, "but not sette upon a hille of raised yerth". [ 6 ] The scrap of masonry that remains The castle began to fall into disrepair during the second half of the 16th century with the timber and lead roof being removed to be reused in buildings in the town, some of which survives to the present day. The process of decline continued under the ownership of the Carre family. In 1604 it was described as ‘the late fair castle’, suggesting it had been largely or even fully dismantled before 1600. An early 18th-century engraving of the castle shows a ruin with a considerable amount of stonework still visible. [ 7 ] Present [ edit ] The visible remains are now only a moat, a scrap of masonry (one small, toppled portion of a wall in the north-east corner of the inner bailey ) and associated earthworks. It is now a scheduled monument and a Grade II listed building protected by law. It is also cultivated for wildlife. Sleaford Castle was excavated during the 1860s, [ 8 ] and was not excavated again until the Sleaford Castle Heritage Group excavated the castle grounds between 19-21 July 2023. [ 8 ] The castle was excavated to determine its layout, and the finds included a floor tile fragment which featured a cat paw print on it, and also a Jetton of Hans Krauwinkel II from Nuremberg , dated to 1586-1635. [ 9 ] See also [ edit ] Castles in Great Britain and Ireland List of castles in England References [ edit ]
|
|
1,140
|
3.33000°W
|
57.61139°N
|
Birnie Kirk
|
https://en.wikipedia.org/wiki/Birnie_Kirk
| 2,582
|
United Kingdom
|
Church in Moray, Scotland 57°36′41″N 3°19′48″W / 57.61139°N 3.33000°W / 57.61139; -3.33000 Birnie Kirk, the first Cathedral Church of Moray, built c. 1140 Birnie Kirk is a 12th century parish church located near Elgin , in Moray , Scotland . It was the first cathedral of the Bishop of Moray and is one of the oldest in Scotland to have been in continuous use. The graveyard, symbol stone and archaeological remains under the church have been designated a scheduled monument by Historic Environment Scotland . BBC News reported on 22 November 2023 that "the 12th Century building is due to close by 2027, as the Church of Scotland undergoes what has been described as 'radical reform' amid falling congregations. The building will continue to be maintained by the Kirk Session pending its release, a Church of Scotland spokesman said in a statement." [1] [ 1 ] Description [ edit ] Birnie Parish Kirk is a rare 12th century Norman parish church located 4 km south of Elgin , in Moray , Scotland. Birnie is one of the oldest churches in continual use in Moray. It is thought that the Norman building was built to replace an earlier, 6th century, Celtic kirk. The presence of a Pictish symbol stone suggests Birnie had been a pre-Christian holy site from very much earlier. It is constructed of aislar ( ashlar ), a finely cut freestone. The building is rectangular with a square, short chancel, which is separated from the nave by a rounded Norman chancel arch. The nave was shortened in 1734 when the wall was rebuilt, and the kirk was later restored in 1891. In the chancel is what is believed to be a Celtic bell, said to have been made in Rome and blessed by the then pope. There is also a 17th century bible, covered in calf's fur - locally known as the Hairy Bible. In the corner of the nave stands a plain, Romanesque style font. The church contains lancet windows in the north and south. [ 2 ] The kirk was the seat of the Bishops of Moray from 1107 to 1184. Until 1322 when the seat moved to Elgin, it served as a cathedral, the seat being rotated between Birnie, Kinneddar, and Spynie. Simon de Tonei, the fourth bishop, was interred there in 1184 but the grave is no longer identifiable. The kirk is surrounded by an oval burial enclosure, which suggests an earlier medieval site. The wall on the north side of the enclosure was removed in the past in order to extend the cemetery. The Birnie Symbol Stone , a Class I Pictish symbol stone , stands against the west wall in the enclosure. It is made of granite, is 1.07 m (3 ft 6 in) in height, 0.6 m (2 ft 0 in)0.6m thick and narrows toward the top. A Celtic decoration of a sea-lion, a Z-rod and a rectangular device is incised into the north side of the stone. [ 3 ] The cemetery also contains a war memorial honouring local parishioners who died during World War I and World War II . The memorial, designed to look like the gable end of a chapel, contains two inlaid plaques which lie below a Romanesque arch. [ 4 ] History [ edit ] Before the construction of Birnie, the site was known to have been the original seat of the Bishops of Moray. Simon de Tosnay, the fourth bishop, was buried in the church in 1184. Birnie was a commune kirk of the Cathedral of Elgin. There are no remnants of the earlier church, but the oval churchyard suggests the shape of am early Christian enclosure. [ 2 ] The graveyard was designated a scheduled monument by Historic Environment Scotland . in 1969. The church was listed in 1971 as a category A building. In 1997, the scheduled monument was updated to include the symbol stone located within the burial enclosure and the archaeological remains lying under the church. [ 3 ] The church closed for regular worship following a final, thanksgiving service on Sunday 19th November 2023. By agreement with Elgin Kirk Session, since January 2024 it has been used by the Roman Catholic Church's Personal Ordinariate of Our Lady of Walsingham [ 5 ] for weekly Evening Prayer and monthly Mass. See also [ edit ] Scotland portal Christianity portal Kilbirnie Auld Kirk Culdees References [ edit ]
|
|
1,140
|
13.35361°E
|
38.11083°N
|
Cappella Palatina
|
https://en.wikipedia.org/wiki/Cappella_Palatina
| 44,397
|
Unknown
|
Royal chapel in Palermo, Sicily This article is about the building in Palermo (Italy). For the monument in Aachen, see Palatine Chapel, Aachen . Fatimid arches and Byzantine mosaics complement each other within the Palatine Chapel. The Palatine Chapel ( Italian : Cappella Palatina ) is the royal chapel of the Norman Palace in Palermo , Sicily . This building is a mixture of Byzantine , Norman and Fatimid architectural styles, showing the tricultural state of Sicily during the 12th century after Roger I and Robert Guiscard conquered the island. Also referred to as a Palace church or Palace chapel , [ 1 ] it was commissioned by Roger II of Sicily in 1132 to be built upon an older chapel (now the crypt) constructed around 1080. It took eight years to build, receiving a royal charter the same year, with the mosaics being only partially finished by 1143. [ 1 ] The sanctuary, dedicated to Saint Peter , is reminiscent of a domed basilica . It has three apses , as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns . The muqarnas ceiling of the nave and the chapel's rectilinear form show the Fatimid influence in the building's construction. Mosaics [ edit ] Mosaic in the Palatine Chapel The mosaics of the Palatine Chapel are of unparalleled elegance as concerns elongated proportions and streaming draperies of figures. They are also noted for subtle modulations of colour and luminance. The oldest are probably those covering the ceiling, the drum, and the dome. The shimmering mosaics of the transept , presumably dating from the 1140s and attributed to Byzantine artists, with an illustrated scene, along the north wall, of St. John in the desert and a landscape of Agnus Dei . [ 2 ] Below this are five saints, the Greek fathers of the church, St. Gregory of Nissa, St. Gregory the Theologian, St. Basil, St. John Chrysostom and St. Nicholas. [ 2 ] The three central figures, St. Gregory, St. Basil, and St. John Chrysostom, are the Three Great Orthodox Church Fathers referred to as the Three Hierarchs, which originated fifty years earlier. [ 2 ] Every composition is set within an ornamental frame, not dissimilar to that used in contemporaneous mosaic icons . The rest of the mosaics, dated to the 1160s or the 1170s, are executed in a cruder manner and feature Latin (rather than Greek) inscriptions. Probably a work of local craftsmen, these pieces are more narrative and illustrative than transcendental. A few mosaics have a secular character and represent oriental flora and fauna . This may be the only substantial passage of secular Byzantine mosaic extant today. Muqarnas ceiling [ edit ] Muqarnas in the Cappella Palatina The intricate and striking muqarnas that still exist in Italy are all in Palermo, mostly in the Zisa Palace and Capella Palatina. They are also a rare case of non-Islamic manifestations. They appeared in Sicily suddenly, meaning that a system as sophisticated as this one was likely imported from elsewhere. Scholars are not confident about where this art derives from, but theories range from North Africa, Egypt, Syria, Persia or even locally. Some call upon the similarities between Zirid architecture fragments from the Qal’a Beni Hammad in Algeria and the Cappella Palatina roofs as examples of North African roots. [ 3 ] There are also muqarnas in Tunisia that resemble the Capella Palatina. Another potential source is Syria where the earliest muqarnas are from the 12th century in Aleppo. Up to a dozen Syrian muqarnas styles resemble the Sicilian examples. The primary demerit to this theory is the fact that the Sicilian muqarnas precede their Syrian counterparts by 30 years. [ 4 ] Some also believe the muqarnas came from the Fatimids in Egypt. There was potentially a period of unrest in Cairo and a lack of patronage for the arts, prompting Fatimid artists to flee to Sicily. [ 5 ] Scholars theorize this encouraged collaboration between the Sicilians and Fatimids – who introduced muqarnas . There is a newer theory that skilled Islamic craftsmen already existed in Sicily and were responsible for the muqarnas . This is based on the evidence that the Sicilian muqarnas vary significantly enough from any Islamic counterparts. [ 4 ] However, the leading theory is that the Fatimids are the originators of the Sicilian muqarnas , but there is a lack of tangible evidence. At the most, there is some written correspondence between Norman Palermo and the Fatimids, but this does not mention artisans or trading of styles. [ 5 ] Therefore, the origins of muqarnas in Sicily are still unclear. muqarnas ceiling in an Arabic style The muqarnas ceiling surmounts the three-aisled basilica hall in the western part of the building. The ceiling represents the cultural diversity of Roger II’s kingdom and his ability to unify the land around him. Some scholars also claim that Roger had the ceiling constructed of wood to allude to Solomon’s palace in Jerusalem, therefore claiming a divine right to rule. [ 5 ] The iconography helps reinforce Roger and the Norman dynasty’s royalty. The art is related to the Islamic vision of eternal paradise, implying that the Norman Kings were the most eminent representatives of heaven on earth. [ 6 ] The ceiling represents the relationship between Mediterranean and Islamic traditions through inscriptions, iconography, and geometry. [ 5 ] There are approximately 75 inscriptions serving as invocations of regal power. They are blessings of praise and good wishes for power, prosperity, goodness, health, and beyond. Many of these inscriptions are in Kufic script – emphasizing the potential Fatimid origins who used this script. The inscriptions were hard to read because of the overlying art and intricate geometry of the muqarnas . However, viewers could discern a word or two that could trigger a verse from the Quran. [ 5 ] The iconography of muqarnas continues to emphasize the idea of paradise in heaven and on Earth. The images refer to the pleasures and habits in the king’s court. There are hunters, drinkers, dancers, and musicians adorning the wall. Interestingly, the images on the ceiling do not create any coherent narrative. [ 6 ] On the muqarnas ceiling’s eastern end, there is an image of revelers singing, dancing, and drinking. These appear to be part of a banquet honoring the patrons of the royal chapel. These individuals are carrying special drinking chalices which appear all over the muqarnas. [ 5 ] Then, on the 3rd register on either side of the exact center of the south muqarnas , there are two paintings of crowned rulers. One of these is Roger II. [ 7 ] There are also some Christian scenes on the muqarnas , but they portray everyday life situations not necessarily religious ones. [ 8 ] In addition, the muqarnas celebrate battles, hunts, and all sorts of animals including elephants, deer, ibexes, gazelles, and antelopes. In Arab literature, animals serve as metaphors and possess layered meanings. [ 5 ] The Cappella Palatina is the earliest surviving example of wooden muqarnas . The construction of muqarnas constructed in wood likely began from this building given all previous examples are made of bricks or stones. The muqarnas ceiling was built most likely after the mosaics of the nave ordered by William I. [ 9 ] The wooden components are all incredibly small – ranging between 1 and 1.5 centimetres (0.4 and 0.6 in). Each piece is fitted together and reinforced with fiber bindings held together with animal glue. The ceiling is supported by horizontal cavetto wood moldings that touch the upper part of the windows and has longitudinal and transverse symmetry. [ 10 ] It is composed of a central horizontal field with a star-and-cross pattern. The muqarnas has 5 horizontal tiers that allow a smooth transition from the ceiling to the walls of the nave. [ 10 ] The main features of the ceiling are 20 eight-pointed stars which are formed by overlaying two squares rotated at 45-degree angles. These stars are inscribed within octagons separated by rhomboidal bosses. Smaller octagonal eight-pointed sears are placed between the stars and frame. [ 6 ] There is an interplay of spatial volumes and planes with bold structural outlines that bend and manipulate light. The muqarnas serve no structural purpose; they are suspended beneath the exterior roof with more wood. Detail of the Muqarnas ceiling of the nave Chapel [ edit ] Cappella Palatina in Palermo Sicily The chapel combines harmoniously a variety of styles: the Norman architecture and door decor, the Arabic arches and ceiling designs and script adorning the roof, the Byzantine dome and mosaics. For instance, clusters of four eight-pointed stars , typical for Muslim design, are arranged on the ceiling so as to form a Christian cross . The Cappella Palatina is built along an east–west axis. [ 11 ] On the west side resides the throne platform [ 12 ] and on the east side is the sanctuary [ 12 ] with the nave connecting these two sides, with domes over each side. [ 12 ] [ 11 ] Along the northern wall of the sanctuary is the royal balcony and the northern chapel, where the King would watch and listen to the liturgy on special feast days. [ 12 ] [ 11 ] Along the nave runs two rows of colonnades, with windows in between each colonnade. [ 12 ] [ 11 ] The chapel was decorated with gold, pearls, porphyry, silk and marble. [ 13 ] The chapel has been considered a union of a Byzantine church sanctuary and a Western basilica nave. [ 14 ] The sanctuary, is of an "Eastern" artistic nature, while the nave reflects "Western" influences. [ 14 ] Nave [ edit ] The nave, constructed under Roger II, did not contain any Christian images. [ 15 ] These were added later by Roger II's successors, William I and William II . [ 15 ] The nave's ceiling consists of Arab, Greek and Latin inscriptions. [ 15 ] The frame for the royal throne sets against the west wall of the nave. There are six steps leading up to where the throne would be, along with two heraldic lions in two roundels upon the spandrels over the throne frame gable. Part of the nave of the Cappella Palatina The nave had different forms of decoration from the north and south to the east and west. Intricate lacing from the ceiling mold outline the arches of the nave in the north and South. These outlines are accompanied by oval medallions and cartouches. In the East and West, the decoration is similar to the muqarnas ceiling but is missing some molding for the borders of the ceiling. [ 16 ] Sanctuary [ edit ] Mosaic of Christ Pantocrator As an expression of Norman culture, St. Dionysius and St. Martin are represented in the sanctuary. [ 17 ] Mosaics are of Byzantine culture in their composition and subjects. [ 18 ] The apex of the dome consists of the Pantokrator , with rows of angels, prophets, evangelists and saints. [ 18 ] The Byzantine motif ends abruptly with scenes from Christ's life along the south wall of the southern transept arm, while the north wall consists of warrior saints. [ 18 ] Analysis [ edit ] Slobodan Ćurčić considers the Palatine Cappella a reflection of Middle Byzantine art. [ 16 ] Illustrating architectural and artistic genius to juxtapose Sicily's "melting pot" culture. According to European historians, Roger II made the decision to make the throne room and chapel equal in the main part of the Cappella Palatina in order to send a message to the papacy and other rulers of Europe that he was going to stay in Sicily, and there was nothing they could do about it. Image of the Muqarnas ceiling Notable people [ edit ] Giuseppe Bertini (1759–1852), maestro di cappella at the Cappella Palatina from 1794 through 1852; previously deputy maestro di capella under his father, Salvatore Bertini. [ 19 ] Notes [ edit ]
|
|
1,140
|
07.141807°E
|
58.046483°N
|
Spangereid Church
|
https://en.wikipedia.org/wiki/Spangereid_Church
| 199
|
Unknown
|
Church in Agder, Norway Spangereid Church Spangereid kirke View of the church 58°02′47″N 7°08′31″E / 58.046483°N 07.141807°E / 58.046483; 07.141807 Location Lindesnes Municipality , Agder Country Norway Denomination Church of Norway Previous denomination Catholic Church Churchmanship Evangelical Lutheran History Status Parish church Founded 1140 Events Expanded in 1830 Architecture Functional status Active Architectural type Cruciform Style Romanesque Completed 1140 (885 years ago) ( 1140 ) Specifications Capacity 300 Materials Stone Administration Diocese Agder og Telemark Deanery Lister og Mandal prosti Parish Lindesnes Norwegian Cultural Heritage Site Type Church Status Automatically protected ID 85529 Spangereid Church ( Norwegian : Spangereid kirke ) is a parish church of the Church of Norway in Lindesnes Municipality in Agder county, Norway . It is located in the village of Høllen . It is one of the churches for the Lindesnes parish which is part of the Lister og Mandal prosti ( deanery ) in the Diocese of Agder og Telemark . The white, stone church was built in a Romanesque cruciform design in the year 1140 using plans drawn up by an unknown architect . The church seats about 300 people. [ 1 ] [ 2 ] History [ edit ] The earliest existing historical records of the church date back to the year 1328, but the church construction has been dated to approximately the year 1140. The Romanesque stone church originally had a rectangular nave and a narrower, square chancel . During the 1830s, the western wall of the church was removed and the church was lengthened and small additions were built to the north and south, creating a cruciform design, nearly doubling the size of the church. A tower over the new western entrance was also constructed during this expansion project. [ 3 ] In 1814, this church served as an election church ( Norwegian : valgkirke ). [ 4 ] Together with more than 300 other parish churches across Norway, it was a polling station for elections to the 1814 Norwegian Constituent Assembly which wrote the Constitution of Norway . This was Norway's first national elections. Each church parish was a constituency that elected people called "electors" who later met together in each county to elect the representatives for the assembly that was to meet in Eidsvoll later that year. [ 4 ] [ 5 ] Media gallery [ edit ] Side view of the church End view of the church Front view of the church Historic view of the church See also [ edit ] List of churches in Agder og Telemark References [ edit ]
|
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.