Nothing on reverse, this is a small 60x55mm photo.

 

This photo is part of an album of Leutnant Wagner who was assigned to the Landw. Inf. Regt 40.

 

This photo has been taken near Stützpunkt 5 am Südelkopf.

 

The L.I.R. 40 was also deployed on the southern slopes of Hartmannswillerkopf in the area of the ​​Hirtzenstein and the Wattwiller's forest where he built some fortifications called Klotz. Opposite the entrance to the current Wattwiller's campground, we find the Bollweiler Koltz. A few tens of meters in the forest are located the Valentin Barth Klotz and the Kraft Klotz. These 3 Klötze were buid in 1916 and each of them bear an L.I.R. 40 inscription above their entrance.

  

Il s'agit d'une photo de 60x55mm, sans annotation au verso.

 

Cette photo fait partie d'un album du Leutnant Wagner qui était affecté au Landw. Inf. Regt 40.

 

Le L.I.R. 40 a également été déployé sur les pentes sud du Hartmannswillerkopf dans le secteur du Hirtzenstein et de la forêt de Wattwiller où il a édifié quelques fortification appelées Klotz. Face à l'entrée de l'actuel terrain de camping de Wattwiller, on trouve le Bollweiler Koltz. A quelques dizaines de mètre en forêt se trouvent le Valentin Barth Klotz et le Kraft Klotz. Ces 3 Klötze, édifiés en 1916, portent chacun la marque du L.I.R. 40 au dessus de leur entrée.

Processed with VSCOcam with c1 preset

Sur cette photo on peut distinguer les "temples géminés" qui étaient dédiés au culte de la famille impériale. Au premier plan, se trouve le "bouleutérion", la salle d'assemblée à l'époque grecque. On voit distinctement les gradins sur les trois cotés, au centre se trouvait l'autel de célébration.

Edifiés vers 20 après J.C., L'Arc de Triomphe et son voisin le Mausolée des Lulii, ont été pendant plus de 16 siècles, les seuls éléments visibles de la cité gréco-romaine de Glanum.

Les merveilleuses ruines de Glanum, telles que l'on peut les admirer aujourd'hui, ne furent redécouvertes qu'à partir de 1921.

L' Arc de Triomphe, porte de la cité, se situe sur la voie Domitia, la voie romaine qui reliait l'Italie à l'Espagne.

A l'origine, implantation gauloise, elle fut le refuge du Dieu guérisseur Glan et de ses disciples, qui l'habitaient et utilisaient l'eau d'une source aux vertus guérisseuses.

Un rapprochement avec la civilisation grecque leur apportèrent la prospérité au IIe et 1er siècle avant J.C.

 

Built ca 20 A.J.C. this Triumphal Arch and its neighbour, a Mausoleum dedictated to a rich local family were kept hiden underneath a big tumulus during over 16 centuries and hence the only two buildings of the Glanum city to be visible.

The fabulous site one can visit nowadays was only discovered in 1921.

The Triumphal Arch, actually the doors of the city, is placed alongside the Domitia road, which led from Italy to Spain.

View from Pont du Carrousel.

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The Ile de la Cité was the cradle of Paris which has developed the initial core of Lutece. Over time, free of its fortifications, government, military and religious of the area have settled there. After the year one thousand Capetian Kings built their first Royal Palace (now the current courthouse). The bishops of Paris are building the Cathedral of Notre Dame. From that moment on the Ile de la Cite is no longer sufficient to accommodate all the people that locate in the Ile Saint Louis and on both banks of the Seine.

 

The Island of the City retains many symbolic monuments of ancient Paris: Notre Dame de Paris, the Palais de Justice (former Royal Palace and Parliament), the Sainte Chapelle, the Conciergerie, ....

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L'île de la Cité est le berceau de Paris où s'est développé le noyau initial de Lutèce. Au fil du temps, à l'abri de ses fortifications, les pouvoirs civils, militaires et religieux de la région s'y sont implantés. Aprés l'an Mil les Rois Capétiens font construire un premier Palais Royal (devenu l'actuel Palais de Justice). Les Evêques de Paris font édifier la Cathédrale Notre-Dame. A partir de ce moment l'ile de la Cité n'est plus suffisante pour accueillir tous les habitants qui s'implantent dans l'île Saint Louis et sur les deux rives de la Seine.

 

L'île de la Cité conserve donc de nombreux monuments symboliques du vieux Paris: Notre Dame de Paris, le Palais de Justice (ancien Palais Royal et Parlement), la Sainte Chapelle, la Conciergerie, ....

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La Ile de la Cité es la cuna de París, antigua Lutece. Con el tiempo, detràs de sus fortificaciones, los poderes gubernamentales, militares y religiosas de la zona se han asentado allí. Después del año mil los reyes Capetos construyen su primer Palacio Real ( el Palacio de Justicia actual). Los Obispos de París costruyen la Catedral de Notre Dame. Desde de ese momento en la Ile de la Cité ya no es suficiente para dar cabida a todas las gentes que se ubiquen en la Ile Saint Louis y en las dos orillas del Sena.

 

La isla de la ciudad conserva muchos monumentos simbólicos del antiguo París: Notre Dame de París, el Palacio de Justicia (antiguo Palacio Real y el Parlamento), la Sainte Chapelle, la Conciergerie, ....

Knole (/noʊl/) is a country house and former archbishop's palace owned by the National Trust. It is situated within Knole Park, a 1,000-acre (400-hectare) park located immediately to the south-east of Sevenoaks in west Kent. The house ranks in the top five of England's largest houses, under any measure used, occupying a total of four acres.[1]

 

The current house dates back to the mid-15th century, with major additions in the 16th and, particularly, the early 17th centuries. Its grade I listing reflects its mix of late-medieval to Stuart structures and particularly its central façade and state rooms. In 2019 an extensive conservation project, "Inspired by Knole", was completed to restore and develop the structures of the buildings and thus help to conserve its important collections.[2] The surrounding deer park has also survived with varying degrees of management in the 400 years since 1600.

 

Early-Stuart Knole and the Sackvilles

Since Dudley had originally granted a 99-year lease, Thomas Sackville could only take it back by buying out the remaining 51 years of the lease for £4000, which he did in 1603. Lennard was happy to sell, not only because of his mounting debts but also because he wished to gain the Dacre title, which he did in 1604 from a commission headed by the lord treasurer, Thomas Sackville. This is unlikely to have been a coincidence.[34] Sackville's descendants, the Earls and Dukes of Dorset and Barons Sackville have owned or lived in the property ever since.[35]

  

North West Front, Knole, Sevenoaks

Thomas Sackville, at that time Lord Buckhurst, had considered a number of other sites to build a house commensurate with his elevated status in court and government. However, he could not overlook the multiple advantages of Knole: a good supply of spring water (rare for a house on a hill), plentiful timber, a deer park and close enough proximity to London.[36] He immediately began a large building programme. This was supposed to have been completed within two years, employing some 200 workmen, but the partially-surviving accounts show that there was continuing, vast expenditure even in 1608–9.[30] Since Sackville had had a distinguished career at court under Elizabeth and then been appointed Lord High Treasurer to James VI and I, he had the resources to undertake such a programme. Perhaps, with his renovations to the state rooms at Knole, Sackville hoped to receive a visit by the King, but this does not seem to have occurred and the lord treasurer himself died during the building work, in April 1608, at the age of about 72.

 

Thomas Sackville's Jacobean great house, like others such as Hatfield and Audley End, have been called "monuments to private greed".[37] Unlike any surviving English great house apart from Haddon Hall, Knole today still looks as it did when Thomas died, having managed "to remain motionless like this since the early 17th century, balanced between growth and decay."[38]

 

Thomas's son, Robert Sackville, second earl of Dorset, took over the titles and estates, gave a description of his father's work on re-modelling Knole: "late re-edified wth a barne, stable, dovehouse and other edifices, together wth divers Courts, the gardens orchards and wilderness invironed wth a stone wall, well planted wth choise frute, and beawtified wth ponds, and manie other pleasureable delights and devises are situate wthin the Parke of knoll, the charge of new building of the said house and making planting and furnishing of the said ponds yards gardens orchards and wilderness about Seaven yeares past Thirty thosand pounds at the least yet exstant uppon Accounpts. All wch are now in the Earle of dorsetts owne occupacon and are worth to bee sold."[39]

 

The second earl did not enjoy Knole for long, since he died in January 1609.[40] His two sons, in turn, inherited the title and estates, first Richard Sackville, third earl of Dorset (1589–1624) and then the much more politically significant Edward Sackville, fourth earl of Dorset (1590–1652).[41] None of these earls lived permanently at Knole. In the first earl's case, this was no doubt due to the renovations. The third earl lived mostly at court, though he is known to have kept his hunting horses and hounds there.[42]

 

The wife of the 3rd Earl, Lady Anne Clifford, lived at Knole for a time during the couple's conflict over her inheritance from her father, George Clifford, third earl of Cumberland.[43] A catalogue of the household of the Earl and Countess of Dorset at Knole from this time survives. It records the names and roles of servants and indicates where they sat at dinner. The list includes two African servants, Grace Robinson, a maid in the laundry, and John Morockoe, who worked in the kitchen. Both are described as "Blackamoors".[44] In 1623, a large part of Knole House burnt down.[45]

 

Knole during the Civil War, Commonwealth and Restoration

 

Edward Sackville, in a miniature by John Hoskins, 1635

Edward, a relatively moderate royalist, was away from Knole in the summer of 1642, when he and his cousin and factotum Sir John Sackville fell under suspicion of stockpiling arms and preparing local men to fight for Charles I during the Civil War. The rumours of the cache of arms reached Parliament in an intercepted letter for which Sir John was notionally the source. On Sunday 14 August 1642, Parliament sent three troops of horse under Colonel Edwin Sandys, a member of a Kentish puritan family, to seize these arms from Knole. Sir John was in the congregation for the parish Sunday service and Sandys waited with his troops outside the church until it had finished. Local people tried to rescue him but they quickly judged that the troops were too strong for them, and Sir John was arrested and taken to the Fleet prison.[46]

 

Sandys's troops then moved to Knole where, according to the earl of Dorset's steward, they caused damage to the value of £186, and 'The Armes they have wholie taken awaie there being five wagenloads of them (sic passim).' [47] In fact, the arms were largely of more interest to antiquarians than to soldiers; they included, for example, thirteen 'old French pistolls whereof four have locks [and] the other nine have none'. Sandys claimed that he had seized 'compleat armes for 500 or 600 men', but this is untrue.[48] Nevertheless, the House of Lords resolved that 'such [arms] as are fit to be made use of for the Service of the Kingdom are to be employed'.[49] In addition, the House was sequestrated.[50] Edward accepted the seizures and damage to Knole as an inevitable part of the Civil War, as he explained in a speech to Charles I and his peers in Oxford, in 1642: 'For my particular, in these wars I have suffered as much as any, my Houses have been searcht, my Armes taken thence, and my sonne and heire committed to prison; yet I shall wave these discourtesies, because I know there was a necessity they should be so. Wikipedia

A beautiful story documenting the events of Notre Dame (A crane works at Notre Dame Cathedral in Paris, France, April 19, 2019. (Philippe Wojazer / Pool via Reuters)

 

Notre Dame: Poetry in Stone

  

A crane works at Notre Dame Cathedral in Paris, France, April 19, 2019

April 15th will not be the final chapter in Notre Dame’s long and storied history. Out of the ashes, we have hope that she will rise again.

It was not long after the spire of Notre Dame collapsed when I found myself in the basement rummaging through my grandfather’s old books. I was looking for Victor Hugo’s ode to the great cathedral. And although I was unable to find it, I remain convinced that there must be a copy stowed away somewhere among the dusty shelves. I’ll look again tomorrow, or perhaps I’ll make my way downtown to see if the library has a copy of its own in circulation. After the events of this week, I imagine I will not be the only one wandering the stacks, searching for that famous novel.

 

I had hoped to find The Hunchback of Notre Dame so that I might, if only for a moment, be granted a vision of the place that has been lost. Yet however beautiful Hugo’s prose might be, I also knew that words would never be able to do her justice. Words may paint a picture in the mind’s eye, they may even inspire us to wondrous acts of restoration (as Hugo’s novel did), but they cannot compete with the poetry of woodwork and stone that was Notre Dame. So much of this poetry was lost on Monday. That is why we weep.

 

A cathedral as great as Notre Dame is more than a backdrop for the City of Lights. In many ways, it managed to integrate itself into the heart and soul of its people. So too did the people leave a part of themselves with it. The story it shares with us is passed down from generation to generation, each making its own contribution to her construction, upkeep, and restoration. It is one told through the work of the hands, a story hewn from stone and carved in wood. That is what made her remarkable. Where many of us struggle to express ourselves in words, the makers of Notre Dame managed to express the fluid notions of the mind in a medium as solid and unforgiving as stone.

 

At Notre Dame, we were confronted by that which we may have otherwise believed to be ineffable. In walking among the pews, in gazing up at the cross above the altar, we were given the chance to encounter expressions of beauty, wonder, majesty, and solace that could be found nowhere else. Here was a poetry we could reach out and touch. Here the thoughts and images that flow through our minds were given form. For the doubting Thomases among us, Notre Dame extended a hand, she helped us to know that these things were real. In such a way the cathedral served to remind us that the Christian faith is not placed in some ethereal being, but in God Incarnate. Notre Dame served to reinforce the fact that God, in all His splendor, dwelt among us. This particular house of God stood as a testament to His beauty, majesty, and awe-inspiring presence, just as the lowly manger once stood as a testament to his humility and compassion.

 

But with the loss of Notre Dame, even if it be but a partial loss, there comes a fear that this beauty has gone out of the world forever. In an age in which what is economical seems to take precedence, we often struggle to justify the cost of the beautiful and the true. It becomes easy to forget that man does not live on bread alone. Notre Dame, while she stood, helped to remind us of that teaching. Through her many virtues the cathedral sought to edify the whole of man. In so doing she was a much-needed light in our time of trouble.

 

I am therefore heartened to hear, already, of the funds being raised to restore her to her former glory. It will not be the same, we know this, but if done well we may yet come to reconcile ourselves to that fact. The foundation is still there. Much of the structure survived intact. April 15 will not be the final chapter in Notre Dame’s long and storied history. Out of the ashes, we have hope that she will rise again. We need her to rise again.

When the breeze blows against our cheek,

When the raindrops fall and blend with our tears,

Sweet memories fill our hearts

like Butterfly kisses...

Gentle yet edifying-

strength given by the one

he so misses.

---sylvia...sometimes

Le château d'Ainay-le-Vieil est un château médiéval construit au XIVe siècle sur l'emplacement d'une forteresse du XIIe siècle, au milieu du village d'Ainay-le-Vieil, dans le département français du Cher. Après l'avoir racheté à Jacques Cœur, Charles de Bigny fait édifier entre 1500 et 1505 un logis pré-Renaissance de style Louis XII.

Depuis 1467, le château demeure dans la même famille. Les propriétaires actuels comptent parmi leurs ancêtres Jean-Baptiste Colbert, ministre de Louis XIV.

 

The castle of Ainay-le-Vieil is a medieval castle built in the fourteenth century on the site of a fortress of the twelfth century, in the middle of the village of Ainay-le-Vieil, in the French department of Cher. After having bought it from Jacques Cœur, Charles de Bigny built between 1500 and 1505 a pre-Renaissance house in the Louis XII style.

Since 1467, the castle remains in the same family. The current owners include among their ancestors Jean-Baptiste Colbert, minister of Louis XIV

This particular ferris wheel "Splendid" was found in Cannes, France

 

A Ferris wheel is an amusement ride consisting of a rotating upright wheel with multiple passenger-carrying components (commonly referred to as passenger cars, cabins, tubs, capsules, gondolas, or pods) attached to the rim in such a way that as the wheel turns, they are kept upright, usually by gravity. Some of the largest modern Ferris wheels have cars mounted on the outside of the rim, with electric motors to independently rotate each car to keep it upright. These wheels are sometimes referred to as observation wheels and their cars referred to as capsules. However, these alternative names are also used for wheels with conventional gravity-oriented cars.

  

The original Ferris Wheel was designed and constructed by George Washington Gale Ferris Jr. as a landmark for the 1893 World's Columbian Exposition in Chicago. The generic term Ferris wheel, now used in American English for all such structures, has become the most common type of amusement ride at state fairs in the United States.

The current tallest Ferris wheel is the 167.6-metre (550 ft) High Roller in Las Vegas, Nevada, which opened to the public in March 2014.

 

The original Ferris Wheel, sometimes also referred to as the Chicago Wheel, was designed and constructed by Ferris Jr.

With a height of 80.4 metres (264 ft) it was the tallest attraction at the World's Columbian Exposition in Chicago, Illinois, where it opened to the public on June 21, 1893. It was intended to rival the 324-metre (1,063 ft) Eiffel Tower, the center piece of the 1889 Paris Exposition.

Ferris was a graduate of Rensselaer Polytechnic Institute and a Pittsburgh, Pennsylvania, bridge-builder. He began his career in the railroad industry and then pursued an interest in bridge building. Ferris understood the growing need for structural steel and founded G.W.G. Ferris & Co. in Pittsburgh, a firm that tested and inspected metals for railroads and bridge builders.

The wheel rotated on a 71-ton, 45.5-foot axle comprising what was at that time the world's largest hollow forging, manufactured in Pittsburgh by the Bethlehem Iron Company and weighing 89,320 pounds, together with two 16-foot-diameter (4.9 m) cast-iron spiders weighing 53,031 pounds.

There were 36 cars, each fitted with 40 revolving chairs and able to accommodate up to 60 people, giving a total capacity of 2,160. The wheel carried some 38,000 passengers daily and took 20 minutes to complete two revolutions, the first involving six stops to allow passengers to exit and enter and the second a nine-minute non-stop rotation, for which the ticket holder paid 50 cents.

The Exposition ended in October 1893, and the wheel closed in April 1894 and was dismantled and stored until the following year. It was then rebuilt on Chicago's North Side, near Lincoln Park, next to an exclusive neighborhood. This prompted William D. Boyce, then a local resident, to file a Circuit Court action against the owners of the wheel to have it removed, but without success. It operated there from October 1895 until 1903, when it was again dismantled, then transported by rail to St. Louis for the 1904 World's Fair and finally destroyed by controlled demolition using dynamite on May 11, 1906.

Antique Ferris wheels

The Wiener Riesenrad (German for "Viennese Giant Wheel") is a surviving example of nineteenth-century Ferris wheels. Erected in 1897 in the Wurstelprater section of Prater public park in the Leopoldstadt district of Vienna, Austria, to celebrate Emperor Franz Josef I's Golden Jubilee, it has a height of 64.75 metres (212 ft) and originally had 30 passenger cars. A demolition permit for the Riesenrad was issued in 1916, but due to a lack of funds with which to carry out the destruction, it survived.

Following the demolition of the 100-metre (328 ft) Grande Roue de Paris in 1920, the Riesenrad became the world's tallest extant Ferris wheel. In 1944 it burnt down, but was rebuilt the following year with 15 passenger cars, and remained the world's tallest extant wheel until its 97th year, when the 85-metre (279 ft) Technocosmos was constructed for Expo '85, at Tsukuba, Ibaraki, Japan.

Still in operation today, it is one of Vienna's most popular tourist attractions, and over the years has featured in numerous films (including Madame Solange d`Atalide (1914), Letter from an Unknown Woman (1948), The Third Man (1949), The Living Daylights (1987), Before Sunrise (1995)) and novels.

World's tallest Ferris wheels

Chronology of world's tallest-ever wheels

•1893: the original Ferris Wheel was 80.4 metres (264 ft) tall. Built for the World's Columbian Exposition in Chicago, Illinois, it was moved to St. Louis, Missouri, in 1904 for the Louisiana Purchase Exposition, and demolished there in 1906.

•1895: the Great Wheel was built for the Empire of India Exhibition at Earls Court, London, UK, and was 94 metres (308 ft) tall.[15] Construction began in March 1894[16] and it opened to the public on 17 July 1895. It stayed in service until 1906 and was demolished in 1907, having carried over 2.5 million passengers.

•1900: the Grande Roue de Paris was built for the Exposition Universelle, a world's fair held in Paris, France. It was demolished in 1920,[8] but its 100-metre (328 ft) height was not surpassed until almost 90 years after its construction.

•1920: the Wiener Riesenrad was built to celebrate the Golden Jubilee of Emperor Franz Josef I, at the entrance of the Wurstelprater amusement park in Austria's capital Vienna. Constructed in 1897, when the Grande Roue de Paris was demolished in 1920, the Riesenrad became the world's tallest extant Ferris wheel with 64.75-metre (212 ft), and it remained so for the next 65 years until 1985, its 97th year.

•1985: Technocosmos, later renamed Technostar, was an 85-metre (279 ft) tall giant Ferris wheel, originally built for the Expo '85 World Fair in Tsukuba, Ibaraki, Japan. Work began on dismantling Technostar in November 2009.

•1989: the Cosmo Clock 21 was built for the YES '89 Yokohama Exposition at Minato Mirai 21, Yokohama, Japan. Originally constructed with a height of 107.5 metres (353 ft),it was dismantled in 1997 and then in 1999 relocated onto a taller base which increased its overall height to 112.5 metres (369 ft).

•1992: Igosu 108 at Biwako Tower, Shiga, Japan, opened April 26 at 108 metres (354 ft) tall, hence its name. It has since been moved to Vietnam, where it opened as the Sun Wheel on a new base, now totaling 115 metres (377 ft) tall.

•1997: the Tempozan Ferris Wheel, in Osaka, Japan, opened to the public on 13 July, and is 112.5 metres (369 ft) tall.

•1999: the Daikanransha at Palette Town in Odaiba, Japan, is 115 metres (377 ft) tall.

•2000: the London Eye, in London, United Kingdom, is 135 metres (443 ft) tall. Although officially opened on 31 December 1999, it did not open to the public until March 2000, because of technical problems.

•2006: the Star of Nanchang, in Nanchang, Jiangxi Province, China, opened for business in May and is 160 metres (525 ft) tall.

•2008: the Singapore Flyer, in Singapore, is 165 metres (541 ft) tall. It started rotating on 11 February, and officially opened to the public on 1 March 2008.

•2014: the High Roller, in Las Vegas, Nevada, United States, is 167.6 metres (550 ft) tall. It opened to the public on 31 March 2014, and is currently the world's tallest Ferris wheel in operation.

•2020: the Ain Dubai, in Dubai, United Arab Emirates, is 250 metres (820 ft) tall. It is due to open in 2020.

  

Une grande roue ou roue panoramique est une variante de très grande taille des manèges.

L'attraction est constituée d'une roue à la verticale ainsi que de nacelles attachées à la jante où montent les passagers. La première grande roue fut conçue par George Washington Gale Ferris Jr. à l'occasion de l'Exposition universelle de 1893 à Chicago. On trouve généralement les grandes roues dans les parcs d'attractions ou les fêtes foraines, mais depuis l'inauguration de London Eye, la grande roue de Londres, on en trouve de plus en plus dans les centres-villes.

Son but est principalement de donner aux passagers une vue panoramique sur une ville, en tournant à une vitesse modérée, voire parfois très lente. Elle n'est majoritairement pas une attraction à sensations, excepté les quelques effets éventuels de vertige dus à la hauteur en la faisant pivoter, de légers balancements dus au vent, ou d'effets inattendus de descentes, comme sur la Pixar Pal-A-Round.

La première évocation d'une grande roue à proprement parler figure dans les journaux de voyages de Peter Mundy, un navigateur et voyageur britannique du XVIIe siècle, originaire de Penryn en Cornouailles. Lors de son exploration de l'empire ottoman, il passe quelques jours à Plovdiv en Bulgarie et évoque les différents systèmes de balançoires à but festif, dont les moins dangereuses, pour les enfants seraient les ancêtres de la grande roue.

La grande roue « moderne » voit le jour grâce à George Washington Gale Ferris, Jr., diplômé de Rensselaer Polytechnic Institute, il fabriquait des ponts à Pittsburgh en Pennsylvanie. Il commença sa carrière dans l'industrie des voies ferrées, puis fut intéressé par la construction des ponts. Ferris comprit le besoin croissant d'acier de construction et fonda G.W.G. Ferris & Co. à Pittsburgh, une entreprise qui testait et contrôlait les métaux utilisés pour les voies ferrés et les ponts.

Ferris conçut la première grande roue, à l'occasion de l'exposition universelle de 1893 à Chicago1. La grande roue était censée être une attraction rivale de la tour Eiffel, l'œuvre centrale de l'Exposition universelle de Paris de 1889. Ce fut l'attraction la plus imposante de l'exposition, du haut de ses 80 mètres, elle était constituée de deux moteurs à vapeur et pouvait supporter 2 160 personnes. Elle contenait 36 nacelles de 60 places chacune (40 assises et 20 debout). Cela prenait vingt minutes pour que la roue fasse deux tours. Au premier tour, six arrêts permettaient aux passagers de monter et de descendre et le deuxième tour était complet sans arrêt. Le ticket coutait 50 cents à l'époque. À la fin de l'exposition universelle, la grande roue fut déplacée près d'un quartier huppé du nord de Chicago. Elle fut à nouveau utilisée pour l'exposition universelle de Saint-Louis dans le Missouri en 1904, qui célébrait le centenaire de l'acquisition de la Louisiane. Elle fut démantelée en 19062. Son axe, qui pesait 70 tonnes, a été le plus grand projet forgé de tous les temps. Des morceaux de cette grande roue furent utilisés pour construire un pont au-dessus de la rivière Kankakee, à 72 km au sud de Chicago3.

La seconde grande roue construite mesure 94 mètres. Nommée Gigantic Wheel (« roue géante »), elle fut construite à Londres dans le quartier d'Earls Court en 1895 sur le modèle de celle de Chicago. Les concepteurs de cette roue, deux Australiens, Adam Gaddelin et Gareth Watson, en construiront ensuite plus de 200.

La troisième installation fut édifiée en 1897, elle mesure 65 mètres. Conçue par Hubert Cecil Booth, elle se situe dans le parc du Prater à Vienne (Autriche). Elle tourne aujourd'hui encore et reste l'un des symboles du parc.

Une grande roue fut construite lors de l'Exposition universelle de 1900 à Paris avenue de Suffren (actuel village suisse), elle avait un diamètre de 106 mètres et comportait 80 nacelles (contre 36 pour celle de Chicago) pouvant contenir chacune 20 personnes4. Elle fut démolie en 19375. La grande roue de la jetée de Santa Monica est, avec celle de la jetée centrale de Blackpool, un des rares exemples de grande roue non édifiés sur terre ferme.

Certaines versions récentes permettent d'avoir des nacelles mobiles par rapport à la distance avec l'axe et ainsi se rapprocher du centre de la roue durant la rotation sans être cantonnée au seul périmètre de la roue (par exemple Pixar Pal-A-Round à Disney California Adventure).

Une autre évolution de la grande roue est constituée de plusieurs grandes roues reliés à l'aide de bras hydrauliques comme le Sky Whirl (Six Flags Great America, Illinois) conçu par la société Intamin.

Certaines grandes roues sont désormais transportables et itinérantes et s'installent dans les plus grands centres-villes.

Certains propriétaires de grande roue préfèrent le terme de « roue panoramique » (« observation wheel ») à celui de grande roue, c'est souvent le cas pour les roues les plus imposantes, même si elles ressemblent fortement à la grande roue originale de Ferris. Souvent en centre-ville, elles visent à observer la ville de haut avec un but panoramique.

Plusieurs grandes roues célèbres sont décrites comme panoramiques par leur concepteur, parmi elles figurent le Singapore Flyer6, mais également le London Eye7 à Londres ou encore la High Roller à Las Vegas.

  

Le Musée du Bouddha Fo Guang Shan : Fóguángshán Fótuó jìniàngun), anciennement connu sous le nom de Buddha Memorial Center, est un Bouddhiste Mahâyâna musée culturel, religieux et éducatif situé à District de Dashu, Kaohsiung, Taïwan'. Le musée est affilié à Fo Guang Shan(en), l'une des plus grandes organisations bouddhistes de Taiwan. Le musée est situé à côté du Monastère de Fo Guang Shan, le siège de l'ordre. Le musée abrite l'un des reliques dentaires de Bouddha Sakyamuni, le fondateur de la foi bouddhiste. Le musée a été accepté comme le plus jeune membre du Conseil international des musées (ICOM) en 2014.

 

La Cité du Grand Bouddha est le symbole de Fo Guang Shan. Le Bouddha d'Accueil, haut de 36 mètres, se dresse au-dessus de la montagne, et son visage empreint de compassion est visible à des dizaines de kilomètres. Son corps tout entier est doré, face au mont Dawu et surplombant la rivière Gaoping. Le ciel est ensoleillé le matin et nuageux le soir, et le lieu est magnifique. Lors de sa consécration en 1975, Maître Hsing Yun prêcha le Dharma : « Rassemblez le sable et les pierres de Gaoping, puisez l'eau de source de l'ouest ; rassemblez la main de tout Taïwan pour édifier le plus grand Bouddha. » Il décrivit les difficultés de sa construction. Autour du Bouddha se trouvent 480 Bouddhas d'Accueil, dont les gestes sont conformes à ceux du Bouddha : la main droite levée, représentant la grande lumière, guidant le monde obscur de Saha ; la main gauche abaissée, signe de la guidance, telle une mère aimante guidant tous les êtres vers la Terre Pure de Paix et de Félicité. Sous le siège de lotus se trouve la Cité des Dix Mille Bouddhas, à l'expression vivante et vivante. En marchant autour du Bouddha, celui-ci pénètre aussi dans votre cœur. Ici se trouvent les « Grands Mots du Dharma » pour éclairer les touristes. Il ne s'agit pas de déterminer la bonne ou la mauvaise fortune, mais de guider les gens vers le chemin de la vie avec sagesse et compassion, afin d'ouvrir leur cœur et leur esprit.

 

大佛城是佛光山的地標，三六公尺高的接引大佛，居高臨下，數十里外，即可目睹佛陀慈容。全身呈金色，面向大武山，俯瞰髙屏溪，朝暉夕陰，氣象萬千。 一九七五年開光時，星雲大師宣説法語：「採高屏之沙石，取西來之泉水；集全台之人力，建最高之大佛。」道盡建造大佛之艱辛。 環繞大佛四周有四百八十尊接引佛，和大佛手勢一致：右手上舉，代表大放光明，為黑暗娑婆世界導航；左手低垂，呈接引之勢，如慈母接引眾生至安樂淨土。 蓮座下有萬佛城，神情生動，栩栩如生，繞佛一圈，佛也走入心中。這裡有為遊客點撥迷津的「大佛法語」，不是斷吉凶禍福，意在指引選擇智慧慈悲的人生方向，求得心開意解

MUSEE BROU

 

"Le monastère royal de Brou est un chef-d'œuvre de l'art gothique flamboyant flamand du début du XVIe siècle. Il se compose d'un ensemble de bâtiments monastiques construits entre 1506 et 1512, et de la somptueuse église Saint-Nicolas-de-Tolentin de Brou, édifiée de 1513 à 1532 par Louis van Bodeghem.

Cet ensemble architectural rare a été commandé par Marguerite d'Autriche, duchesse de Savoie, gouvernante des Pays-Bas bourguignons, marraine et tante de Charles Quint. Elle fit édifier l'ensemble en mémoire de son époux Philibert le Beau et pour respecter le vœu fait par sa belle-mère Marguerite de Bourbon". Wikipédia

Les anciens bâtiments monastiques comprennent deux cloîtres et abritent le musée de peinture.

L'église sert d'écrin aux trois tombeaux de Philibert le Beau au centre de l'abside, de sa mère Marguerite de Bourbon à droite et de sa femme Marguerite d'Autriche à gauche.

Les deux tombeaux de Philibert le Beau et de Marguerite d'Autriche ont deux étages. A l'étage supérieur le défunt est représenté habillé en costume de cour.

A l'étage inférieur il est présenté nu dans son linceul.

A droite le tombeau de Marguerite de Bourbon mère de Philibert le Beau, dans une niche creusée dans le mur de l'église, comporte un seul étage.

  

"The royal monastery of Brou is a masterpiece of Flemish flamboyant Gothic art from the early 16th century and consists of a group of monastic buildings built between 1506 and 1512 and the sumptuous church of St. Nicholas. -de-Tolentin de Brou, built from 1513 to 1532 by Louis van Bodeghem.

This architectural ensemble was built on order of Marguerite d'Autriche, Duchess of Savoy, governess of the Burgundy Netherlands, godmother and aunt of Charles Quint. She built the whole in memory of her husband Philibert the Beautiful and to respect the wish made by his mother-in-law Marguerite de Bourbon. "Wikipedia

The ancient monastic buildings include two cloisters and house the painting museum.

The church serves as a showcase for the three tombs of Philibert le Beau in the center of the apse, of his mother Marguerite de Bourbon on the right and his wife Marguerite of Austria on the left.

The two tombs of Philibert the Beautiful and Margaret of Austria have two floors. On the upper floor the deceased is represented dressed in court costume.

On the lower floor he is presented naked in his shroud.

On the right, the tomb of Marguerite de Bourbon, mother of Philibert le Beau, in a niche carved in the wall of the church, has a single floor.

   

Nous ne sommes pas entrés dans la chapelle occupée pour un mariage.

La chapelle dont l’abside autrefois peinte en blanc servait d’amer pour les marins et les pêcheurs, se dresse sur les rochers, tout près de la jetée qui protège l’entrée du port. Elle occupe aussi une place privilégiée dans le cœur des Saint-Vaastais.

Cette chapelle peu ordinaire correspond au chœur et à l’abside semi-circulaire de l’ancienne église paroissiale de Saint-Vaast, certainement édifiés au XIe siècle ainsi que l’indique leur architecture.

En effet, les modillons – petites consoles sculptées destinées à soutenir la corniche – sont typiques de l’art roman.

Ils adoptent une forme géométrique, animale ou humaine.

 

We did not enter the chapel occupied for a wedding.

The chapel, whose apse, once painted white, served as a landmark for sailors and fishermen, stands on the rocks, very close to the pier which protects the entrance to the port. It also occupies a privileged place in the hearts of the Saint-Vaastais.

This unusual chapel corresponds to the choir and the semi-circular apse of the old parish church of Saint-Vaast, certainly built in the 11th century as their architecture indicates.

Indeed, the modillions – small sculpted consoles intended to support the cornice – are typical of Romanesque art.

They adopt a geometric, animal or human form.

 

Not every HAND is a helping hand.

 

I've always been a firm believer of listening to what people aren't saying. As a very quiet person I've learned that silence can be sonorous, not every opinion is meant to edify, not every hand they extend is there to hold you up...

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Club d’aviron fondé en 1873, l’Union Nautique de Liège est installée à la pointe de la Boverie, entre la Meuse et sa Dérivation.

Elle jouit d’une situation exceptionnelle, dans un des plus beaux parcs de la Ville de Liège. Bénéficiant à la fois du plan d’eau de la Dérivation, réservé à la pratique de l’aviron et de celui qu’offre la Meuse liégeoise aux évolutions des bateaux à moteur.

Du petit hangar en planches aménagé par les fondateurs dès les premiers mois de la vie du club, on en arriva à la construction du bâtiment qui, agrandissements après agrandissements, est devenu, en 1931, ce qu’il est encore aujourd’hui.

Les succès sportifs ne se firent pas attendre et bientôt les rameurs liégeois remportèrent de nombreuses victoires sur les champs de courses belges et étrangers. Le palmarès de l’Union Nautique est édifiant et nombreux sont les événements du monde sportif amateur où des membres de ce club se sont distingués.

 

Rowing club founded in 1873, the Union Nautique de Liège is located at the tip of Boverie, between the Meuse and its Diversion.

It enjoys an exceptional location, in one of the most beautiful parks in the City of Liège. Benefiting from both the water body of the Dérivation, reserved for the practice of rowing, and that offered by the Meuse of Liège for developments in motorboats.

From the small plank shed built by the founders in the first months of the club's life, we came to the construction of the building which, expansion after expansion, became, in 1931, what it still is today.

Sporting successes were not long in coming and soon the Liège rowers won numerous victories on Belgian and foreign race courses. The Union Nautique's track record is edifying and there are numerous events in the amateur sporting world where members of this club have distinguished themselves.

Frédéric Mistral a fait édifier son tombeau dans le cimetière du village provençal de Maillane en 1907, avant sa mort en 1914. C’est une réplique très fidèle du Pavillon d’amour de la Reine Jeanne des Baux-de-Provence.

 

La clef de voûte de l’ouverture principale porte en bas-relief l’étoile à sept branches du félibrige. Celles des autres baies représentent des figures de jeunes filles, une Mireille et une arlésienne. Deux autres sont sculptées à l’effigie des deux chiens du poète Pan Panet et Pan Perdu.

 

The Tomb of Frédéric Mistral

 

At the request of Frederic Mistral, a sculptor realized his tomb in the cemetery of Maillane village in Provence in 1907, before his death in 1914. It is a very faithful replica of the Love Pavilion of Queen Jeanne in Baux-de-Provence near here.

 

The keystone of the main opening carries in relief the seven-branched star of the poets of Provence. Those of the other bays represent figures of young girls, a Mireille and an Arlesienne. Two others are carved with the effigy of the two dogs of the poet "Pan Panet" and "Pan Perdu".

 

The Fort Saint-Elme is a military fort built between 1538 and 1552 by Charles V. It is located in the district of Collioure, 30 km south-east of Perpignan, in the department of Pyrénées-Orientales. It is designated as a monument historique of the Côte Vermeille. Since 2008, the fort has been a museum with medieval and Renaissance arms collections, exhibitions and a panorama over the area from the terrace.

The fort Saint-Elme is located at the top of a hill overhanging Collioure on the west and Port-Vendres on the east. One can reach the fort following a local road linking the D114 road at the north, through the Coll d'en Raixat at the south.

 

Toponymy

Several assumptions exist for the origins of Saint Elme: Firstly the name of Saint-Elme may come from Erasmus of Formia, an Italian martyr of the 4th century. Secondly it could have been given in honour of the Spanish saint Peter González (1190-1246). This explains why we find this name around the western Mediterranean coasts: Saint Elme in Naples, Sant Elme in St Feliu de Guixols, Sant Helme and Santem in Provence, etc… Saint Erasmus may have become the patron saint of sailors because he is said to have continued preaching even after a thunderbolt struck the ground beside him. This prompted sailors, who were in danger from sudden storms and lightning, to claim his prayers. The electrical discharges at the mastheads of ships were read as a sign of his protection and came to be called "Saint Elmo's Fire".

 

By decree on 3 June 1794, during the French Revolution, the city took briefly the name of Fort-du-Rocher (Rock's fort).

 

History

From the origins to the Middle-Ages

The history of Fort Saint-Elme began with the edification of the watchtower in the 8th century, i.e. either during the period when Arab-Berber troops occupied Septimania between 719 and 759. Integrated to the Marca Hispanica, the tower belonged to the independent Counts of Roussillon until the death without heirs of Girard II of Roussillon in 1172. He bequeathed his county to Alfonso II, King of Aragon and Count of Barcelona. This is during the Aragonese period that the tower took its nickname "Torre de la guardia" (Watchtower).

 

Between 1276 and 1344, Majorca’s kings, whose summer residence was the castle of Collioure, rebuilt this signal tower on this ideal point of view. This tower was integrated in an efficient communication system including the Massane and Madeloc towers located on the heights of Collioure and funded by James II of Aragon in the 13th century. These towers communicated through smoke signals that permitted to alert the surroundings population with smoke signals (black or white, discontinuous or continuous) according to the danger. At night, some dry wood permitted to light fires to alert garrisons until Perpignan. By day, some green wood was used to emit smoke and thus communicate with the others towers and strongholds of the region. But it was the enemy of the kingdom of Majorca, the king Peter IV of Aragon, who, once he conquered the coast in 1344, made significant military works to improve the defense of the fort.

 

During the second part of the 15th century, the French controlled the Roussillon. In 1462, the king Louis XI took advantage of the Catalan civil war (1462-1472) to sign the treaty of Bayonne and thus took over the counties of Roussillon and Cerdagne. The French decided to strengthen the fort which took the name of Saint Elme. A part of ramparts dates from this period. The successor of Louis XI, Charles VIII, who wanted to assure the neutrality of Spain for his ambitions over the kingdom of Naples, signed with Ferdinand II of Aragon the treaty of Barcelona in 1493. The catholic king recovered thus the lost territories.

 

The fortification of Charles V

In the 16th century, the Roussillon is an essential piece of the Spanish kingdom. The region had a triangular shape delimitated by the cordilleras in the north, the Albera Massif in the south and the Mediterranean Sea in the east. Perpignan was an important industrial, cultural and commercial center which got important privileged links with the wealth of Italy. Perpignan was defended in the north by the Fortress of Salses and in the south by the Fort Saint-Elme. This castle protected also the Collioure and Port-Vendres ports which assured supplies and troops helpers to the regional capital of Roussillon.

 

The progress of the modern artillery changed profoundly the war art and the siege technics. Architects and artillerymen were converted to new war masters and advisers of sovereigns. In 1537, the Italian architect Benedetto of Ravenna caught the emperor’s attention on the weaknesses of the Collioure position. After an inspection, Benedetto obtained the agreement of Charles V. He began the works in 1538 until 1552 and transformed the fort’s appearance which took its star-shaped aspect.

 

A French fort

Despite this modernisation and its adaptation to the artillery, on 13 April 1642, French troops of king Louis XIII achieved to take the fort. After the signing of the Treaty of the Pyrenees in 1659, the Spanish threat remained. When Vauban, military architect of King Louis XIV, made a reconnaissance of the defensive structures in 1659 in the region of Collioure, he decided to build a counterscarp, which forms with the ramparts base a ten-meter pit where infantry and cannons could easily operate.

 

Around 1780, the fort’s facade was whitened to serve as landmark from the sea, with the Massane Tower, to better situate the port of Port-Vendres.[1]

 

During the French Revolution, more precisely during the War of the Pyrenees, between 1793 and 1795, the region was the center of violent fights. The Fort Saint Elme was conquered successively by Royalists and Republicans. In 1794, the Spanish army took the fort. Six months later, the general Dugommier crushed with 11 000 cannonballs the garrison which surrendered on 25 May 1794 after a 22-day siege. After the revolutionary period, the fort, unified with the municipality of Collioure, was transformed in military warehouse.

 

A private museum

The Fort Saint-Elme was demilitarised in 1903 and abandoned. The tower was shattered, the (shooting place) was partly impracticable and many walls threatened to collapse. On 21 August 1913, the State decided to auction the fort. Several owners succeeded but none restoration was made. The fort was registered as Monument Historique by decree of 2 April 1927. A new owner decided thus to restore it. The works ended in 1936. During the WWII, the fort was occupied by the Kriegsmarine between 1942 and 1944. At their escape, some buildings were dynamited to block the progress of allied troops. Rebuilt partially in 1950, most restoration works began in 2004. Since 2008, the fort has been a museum.

 

Architecture

The interior of the fort Saint-Elme is composed of rooms edified around the exterior circumference of the tower. On the first floor, there were the troop’s dormitories, the weapons room, the throne’s room, the jail and the oven. Today, the floor is fit out historical objects which date from 15th century to 19th century: helmets, knights’ armours, chest, polished-stone and iron cannonballs, medieval and "Renaissance" weapons (culverin, falconet, crossbows, halberds, flails, hammers, lances, bows, swords, arquebus, 16th-century pistols), howitzer fragments.

 

Others rooms reveal the history of the monument: the genealogy and life of Charles V, the fortifications of Vauban, the inventory of 1770 and the attack of general Dugommier in 1794.

 

On the second floor, the flour and artillery warehouses were next to the guardroom and the bakery. Saint-Elme, a stronghold with an ingenious defensive system, has been conceived to support sieges and resist to assaults. Some walls reach up to eight-meters thick. The tower contained the powder. The shooting place could receive more than 20 cannons and howitzers. The undergrounds are not open to the public. Formerly, they were used as a warehouse for food and housing. They could also house all trades (corps de metier) necessary to the fight.

 

Wikipedia

 

Collioure is a town on the Mediterranean coast of southern France. On the sea, the medieval Château Royal de Collioure offers dramatic coastal views. The bell tower of 17th-century Notre-Dame-des-Anges Church was once a lighthouse. The Modern Art Museum includes paintings by Henri Matisse. Nearby is the Moulin de Collioure, a 14th-century windmill. South, the hilltop Fort St. Elme has a museum with medieval weapons. ― Google

  

en.wikipedia.org/wiki/Collioure

Louis de Bourbon-Vendôme de La Roche-sur-Yon (1473-1520 ; dernier fils de Jean VIII et d'Isabelle), souche des Bourbons ducs de Montpensier, construisit un magnifique château (1499) et eut le privilège, en tant que descendant de saint Louis, d'édifier une Sainte-Chapelle sur le modèle de celle de son ancêtre. L'ensemble fut terminé par son fils Louis II ou III (1513-† 1582 à Champigny), duc de Montpensier en 1561 et dauphin d'Auvergne en 1543, père du duc François, lui-même père du duc Henri et grand-père de Marie de Montpensier (1605-1627). La Sainte-Chapelle de Champigny était gérée par la collégiale Saint-Louis qui fut dotée des revenus nécessaires pour l'entretien et les charges qui lui incombait13.

Au XVIIe siècle, le cardinal de Richelieu entreprit d'édifier sa ville nouvelle de Richelieu à moins de 7 km de la cité des Bourbon-Vendôme dont il tira ombrage. Il acquit en 1635 la propriété de Champigny appartenant à Gaston duc d’Orléans (frère cadet de Louis XIII ; sa première femme était l'héritière Marie de Bourbon-Montpensier ci-dessus : parents d'Anne-Marie-Louise d'Orléans alias la Grande Mademoiselle) et détruisit le château ‒ on ne peut plus que l'imaginer dans la perspective de la cour d’honneur et face à la chapelle ‒ mais il conserva les communs. La Sainte-Chapelle aussi était de trop : il fallut l'intervention de l'évêque de Poitiers et du pape Urbain VIII pour qu'il renoncât à la détruire comme il en avait l'intention.

 

Louis de Bourbon-Vendome of La Roche-sur-Yon (1473-1520, last son of John VIII and Isabella), stock of the Bourbons dukes of Montpensier, built a magnificent castle (1499) and had the privilege, as a descendant of St. Louis, to build a Sainte-Chapelle on the model of that of his ancestor. The ensemble was completed by his son Louis II or III (1513-1582 in Champigny), Duke of Montpensier in 1561 and Dauphin of Auvergne in 1543, father of Duke François, himself father of Duke Henri and grandfather of Marie de Montpensier (1605-1627). Sainte-Chapelle de Champigny was managed by the Saint-Louis collegiate which was endowed with the necessary revenues for the maintenance and the charges which incumbent on it13.

In the seventeenth century, Cardinal Richelieu began to build his new town of Richelieu less than 7 km from the city of Bourbon Vendome which he drew umbrage. He acquired in 1635 the property of Champigny belonging to Gaston Duke of Orleans (younger brother of Louis XIII, his first wife was the heiress Marie de Bourbon-Montpensier above: parents of Anne-Marie-Louise d'Orleans alias the Great Mademoiselle) and destroyed the castle - we can only imagine it from the perspective of the main courtyard and facing the chapel - but he kept the commons. Sainte-Chapelle too was too much: it required the intervention of the bishop of Poitiers and Pope Urban VIII to give up the destruction as he intended

Giovanni di Paolo Sienne 1400-1482

Annonciation 48x35 1445

Rome Vatican Pinacothèque

 

L'ART ET L'HISTOIRE. QUELQUES QUESTIONS.

 

Selon une certaine historiographie à destination du grand public les années 1000 et suivantes qui voient la vraie renaissance de l'Europe, après le chaos qui a suivi l'effondrement de la société de l'Antiquité Gréco-Romaine, était une époque aux conditions de vie effroyables : Les serfs battaient l'eau des douves des châteaux pour faire taire les grenouilles qui dérangeaient le sommeil des Seigneurs. Et les serfs bien sûr livraient leurs filles aux appétits sexuels des Seigneurs. La République Française a constamment enseigné cette histoire falsifiée, depuis l'école primaire jusqu'au baccalauréat. Avec à peine un peu plus d'objectivité plus en avant dans les études. Seuls quelques historiens à la retraite ou écrivant dans des ouvrages réservés au cercle des professionnels pouvaient s'autoriser de remettre en question l'histoire officielle. La frontière à ne pas franchir, sous peine de sanctions professionnelles, était celle qui permettait de s'adresser au grand public. La mode historiquement correcte a même été pendant quelques décennies, aux alentours des années 1975 et suivantes de réhabiliter les "Ages Sombres" (500 après-1000 après), mais certainement pas la période qui suivait jusqu'à la Révolution Française : celle de "l'Ancien Régime". Le Bi-centenaire de la Révolution Française s'approchant l'historien français avait intérêt à être historiquement conforme à la légende imposée par les Lumières révolutionnaires. Sinon il ne faisait pas carrière, ou difficilement et en marge de l'Université. Beaucoup de professionnels de l'histoire l'ont appris à leurs dépens, notamment Raynald Secher.

Dans les années 1960-70, l'historien Fernand Braudel (1902-1985,) qui pensait pouvoir raconter une "histoire à l'endroit", c'est à dire une histoire plus conforme aux réalités, moins faussée par la propagande, et qui en avait la compétence, a été interdit d'écriture de l'histoire au niveau de l'Instruction Publique: celle destinée aux petits français. Il a dû se contenter d'écrire des ouvrages pour des esprits mieux informés, mais moins nombreux. Il n'était pas idéologiquement concevable que Fernand Braudel puisse former l'esprit des petits français dans des manuels d'enseignement primaire ou secondaire. C'était pourtant le plus grand historien français de la première moitié du 20è siècle. Surtout il avait la capacité et le don de la synthèse historique, une science qui est plutôt rare.

 

Il existe pourtant à l'évidence un gros problème dans cette vision du passé médiéval de la civilisation européenne telle que l'école républicaine, inspirée par les "Lumières", nous l'a imposée : C'est que dans le domaine des arts ce fut un temps magnifique de créativité libre et sincère émanant de toute la société européenne. Pas seulement de ses élites politiques ou idéologiques. Les artistes de ces temps là étaient des artisans, des hommes de métiers, des hommes du peuple, des hommes peu lettrés. Cette histoire de l'art européen n'est absolument pas comparable avec l'histoire de l'art dans l'Empire de Tamerlan. Les mosquées de Samarkand ont été construites par des artisans et artistes indiens déportés d'Inde, avec leurs familles. Rien de semblable en Europe. Les Égyptologues ont fini par admettre que les grandes pyramides, officiellement construites par les anciens Égyptiens, ne l'avaient pas été à coup de fouet. Il en est de même pour les temples, effectivement édifiés par les anciens Égyptiens. C'est une reconnaissance relativement récente, apparue dans le courant du dernier quart du 20è siècle. C'est historiquement établi, Notre Dame de Paris, ou le Château de Versailles n'ont pas été construits de force. Si certaines oppositions se sont manifestées à la fin de la période gothique, par exemple à Reims, c'est essentiellement de la part de la bourgeoisie, celle du commerce, de la banque et celle des offices. Bourgeoisie à laquelle l’Église demandait de financer les travaux. Le peuple des artisans travaillait sur les chantiers, tout à fait volontairement car c'était son gagne pain. C'est faute de financement que les travaux de constructions des grands édifices religieux se sont ralentis et même souvent arrêtés au cours du 14è siècle. Pas faute de bras ouvriers.

Depuis la révolution française, en France et dans toute l'Europe, deux histoires, deux histoires racontées, absolument contradictoires, ont ainsi existé en parallèle :

- Une histoire politique et économique qui présente toute la période antérieure à la révolution, pas seulement l'époque médiévale, comme des temps obscurs de calamités et de dictatures royales, princières et ecclésiastiques sur les peuples.

- Une histoire de l'art qui rapporte et décrit de manière globalement objective les manifestations artistiques remarquables de toute cette même période.

Sans que personne ne s'étonne, publiquement tout au moins, de l'incohérence d'une telle dichotomie entre deux historiographies aussi divergentes à propos de la même société. Tout cet art merveilleux, heureux et sincère, aurait été pendant plus de mille ans la création de peuples européens opprimés par les Rois, les Seigneurs et l'Eglise !

En architecture, en sculpture, en peinture, d'abord sur fresques et sur livres, sur vitraux au nord des Alpes, et très tardivement sur bois: la peinture de chevalet n'apparaît pas avant le 14è siècle. Dans le seul domaine de la peinture, jusqu'après la seconde guerre mondiale, malgré les évolutions et les ruptures idéologiques, cela fait environ mille années de beauté !

Comment peut-t-il se faire que des temps si obscurs, si néfastes à la raison, à la liberté, à la justice à la solidarité, au progrès, aient produit des arts aussi merveilleux pendant un millénaire ?

Des arts toujours ressentis comme magnifiques à notre époque, alors que les Européens actuels, dans leur grande majorité, ne croient plus vraiment dans les doctrines qui les ont inspiré.

Aussi magnifique à nos yeux que les Arts d'Egypte, dont les croyances sont absolument mortes dans l'esprit des hommes.

Alors que nos temps contemporains, si "Lumineux", si magnifiquement progressistes, si scientifiques, si techniques, si démocratiques, si socialistes et si solidaires dans le capitalisme le plus productif, offrent le spectacle d' un art contemporain officiel, l'art conceptuel, aussi laid, aussi absurde et aussi anti-démocratique ?

C'est une question que l'on peut poser, en s'interrogeant sur nos croyances actuelles, et sur leurs capacités à favoriser la création d'une vie artistique mémorable à l'échelle des siècles.

La deuxième moitié du 20 siècle en Occident, l'Occident démocratique, peut se vanter d'avoir inventer, en peinture notamment et particulièrement dans le domaine officiel, l'art laid, l'art absurde, l'art séparé des peuples, l'art contre les peuples. Mais combien de temps cette imposture d'un art non exemplaire pourra-t-elle durer et que signifie-t-elle quand à l'état de notre société ?

 

ART AND HISTORY. SOME QUESTIONS.

 

According to a certain historiography intended for the general public, the years 1000 and following which see the true rebirth of Europe, after the chaos that followed the collapse of the Greco-Roman antiquity society, was a time of of appalling servitude: the serfs beat the water of the moat of the castles to silence the frogs who Disturbed the sleep of the Lords. And the serfs of course delivered their daughters to the sexual appetites of the Lords. The French Republic has constantly taught this falsified history, from primary school to the Baccalaureate. With hardly a little more objectivity in higher education. Only a few retired historians or those writing in books reserved for the professional circle could allow themselves to question official history. The border not to be crossed, under penalty of professional sanctions, was the one that allowed the general public to be addressed. The historically correct fashion was even for a few decades, around 1975 and following years, to rehabilitate the "Dark Ages" (500 after-1000 after), but certainly not the period that followed until the French Revolution: that of the "Old Régime". The Bi-centenary of the French Revolution approaching, the French historian had an interest in being historically consistent with the legend imposed by the revolutionary Enlightenment. Otherwise he did not have a career, or with difficulty and on the fringes of the University. Many history professionals have learned this at their own expense, among others Raynald Secher.

In the 1960s and 1970s, the historian Fernand Braudel (1902-1985,) who thought he could tell a "genuine story", that is, a story more in line with reality, less distorted by propaganda, and who had the competence to do so, was banned from writing history at the level of public instruction: that intended for the little French. He had to content himself with writing books for better-informed but less numerous minds. It was not ideologically conceivable that Fernand Braudel could form the spirit of the little Frenchmen in textbooks of primary or secondary education. He was, however, the greatest French historian of the first half of the 20th century. Above all, he had the ability and gift of historical synthesis, a science that is rather rare.

 

There is obviously a big problem in this vision of the medieval past of European civilization as the republican school, inspired by the "Enlightenment", has imposed on us: It is that in the field of arts this was a wonderful time of creativity, free and sincere, emanating from all European society. Not just of his political or ideological elites. The artists of those times were craftsmen, tradesmen, men of the people, men little literate. This history of European art is absolutely not comparable with the history of art in the Tamerlane Empire. The mosques of Samarkand were built by Indian artisans and artists deported from India, together with their families. Nothing like it in Europe.

Egyptologists have finally admitted that the great pyramids, officially built by the ancient Egyptians, had not been built with whips. The same is true for the temples, which were effectively built by the ancient Egyptians. This is a relatively recent recognition, which appeared in the last quarter of the 20th century. It is historically established that Notre Dame de Paris, or the Château de Versailles, were not built by force. If certain oppositions appeared at the end of the Gothic period, for example in Reims, it was essentially on the part of the bourgeoisie, the trade, the bank and the offices. A bourgeoisie from which the Church asked to finance the work. The craftsmen worked on the sites, quite voluntarily because it was their livelihood. It was due to a lack of funding that construction work on large religious buildings slowed down and even often stopped during the 14th century. Not for lack of workers'arm.

Since the French Revolution, in France and throughout Europe, two absolutely contradictory stories, two stories recounted, have existed in parallel:

- A political and economic history which presents all the period before the revolution, not only the medieval period, like dark times of calamities and royal, princely and ecclesiastical dictatorships on the peoples.

- A history of art which reports and describes in a globally objective way the remarkable artistic manifestations of all this same period.

No one is astonished, at least publicly, at the incoherence of such a dichotomy between two totally divergent historiographies about the same society. All this wonderful, happy and sincere art would have been, for more than a thousand years, the creation of European peoples oppressed by Kings, Lords and the Church!

In architecture, sculpture, painting, first on frescoes and books, on stained glass windows north of the Alps, and very late on wood: the easel painting does not appear before the 14th century. In the field of painting alone, until after the Second World War, despite the evolutions and the ideological breaks, it is about a thousand years of beauty!

How can it be that times so obscure, so harmful to reason, to liberty, to justice to solidarity, to progress, have produced such marvelous arts during a millennium?

This arts are still experienced as beautiful, in our time, while the current Europeans, for the most part, do not really believe in the doctrines that inspired them.

As magnificent to our eyes as the Arts of Egypt, whose beliefs are absolutely dead in the minds of men.

While our contemporary times, so "Luminous", so magnificently progressive, so scientific, so technical, so democratic, so socialistic and so solidarity in the most productive capitalism, offer the spectacle of an official art, conceptual art, as ugly, as absurd and also as anti-democratic?

This is a question that can be asked, questioning our current beliefs, and their ability to foster the creation of a memorable artistic life over the centuries.

The second half of the 20th century in the West, the democratic West, can boast of having invented, in painting in particular and particularly in the official domain, the ugly art, absurd art, art separated from peoples, art against peoples. But how long can this imposture of a non- exemplary art last and what does it mean about the state of our society?

   

Galerie Véro-Dodat

 

La réalisation de ce passage est caractéristique des opérations immobilières spéculatives de la Restauration. En 1826, deux investisseurs, le charcutier Benoît Véro et le financier Dodat, firent édifier ce passage entre les rues du Bouloi et Jean-Jacques-Rousseau, entre le Palais-Royal et les Halles. Il offrait un raccourci plaisant entre ces deux lieux alors très fréquentés et fut rapidement adopté par le public (la rue du Colonel-Driant ne fut percée qu'en 1915).

De style néoclassique, la Galerie Véro-Dodat doit son animation et sa réputation à la présence des « Messageries Laffitte et Gaillard », situées à l’entrée du passage sur la rue Jean-Jacques-Rousseau. Les voyageurs qui attendaient leurs diligences allaient flâner parmi les magasins à la mode et contribuèrent pour une large part au succès de ce passage. Le marchand d'estampes Aubert, éditeur du Charivari et de La Caricature, s'y installa également et y exposa les plus célèbres caricaturistes de l'époque. Puis c'est la tragédienne Rachel qui occupa un appartement du passage de 1838 à 1842.

 

Le Second Empire et la disparition des « Messageries » amorcèrent le déclin de la galerie. Relativement boudée aujourd'hui, la galerie Véro-Dodat est pourtant une des plus charmantes de Paris et possède plusieurs attraits outre son architecture élégante, dont des galeries d'art contemporain ou des boutiques anciennes de décoration ou d'ameublement.

 

La galerie Véro-Dodat fait l'objet d'une inscription au titre des monuments historiques depuis le 9 juin 1965. Il a ensuite été proposé au classement, et malgré l'accord de la commission supérieure des monuments historiques le 18 mai 1998, la copropriété a refusé son classement. Elle fut entièrement restaurée en 1997.

 

-------------------------------

 

Galerie Véro-Dodat was built by two charcutiers between the Rue Bouloi and Rue de Jean-Jacques Rousseau, between the Palais Royal and Les Halles, in 1826. This was during the Bourbon restoration dynasty in the early 1800s, when covered passages or galeries in Paris were growing quickly in popularity. They provided warm, dry places for the wealthy to shop and dine on rainy, muddy days. In a time before paved streets and sewers, the galeries’ billiards, bistros and public baths served as a grown-up playground for the emerging middle class. At the height of their popularity in the mid 19th century, there were more than 150 passages. However, with the advent of the department store around 1850, the galeries begin to decline. Today, eighteen passages remain.

 

Véro-Dodat was one of the first of Paris's passageways to get gas lighting in 1830, and one of the last to fall into decline. Its decline began during the Second Empire with the demise of the Messageries Laffitte et Gaillard. It was listed as a French historical landmark on June 9, 1965, and was restored in 1997 to its former nineteenth-century, neo-classical glory, complete with its elegant shops specializing in antiques, objets d’art, art books and fashion accessories.

It is said this is where French writer Gérard de Nerval would often drink at the restaurant Café de l'Époque, located on the Rue Croix-des-Petits-Champs entrance of the gallery, and that is where he took his last drink before committing suicide by hanging in Châtelet. The actress Rachel occupied an apartment in the passage of 1838 in 1842. The print-seller Gabriel Aubert, editor of Le Charivari and of La Caricature, also settled there and introduced the gallery to the most famous caricaturists of the time.

 

The Galerie is neoclassical in style, with marble columns, gold trim, frescoes, and a black and white tiled floor. The passage is arranged to give an illusion of depth, the diagonal grid of black and white tiles, the low height of the ceiling decorated with paintings of landscapes where it is not glass, for shops on the alignment of a strict horizontal plane. The entries in the gallery are ionic arcades closed by gates. Entries are crowned with a balcony. The façade of the gallery on the Rue Bouloi is decorated with two statues in niches representing Hermes with his winged helmet and a Caduceus hand, god of merchants, and Hercules dressed in the skin of Nemean lion.

 

CaméraSony DSLR-A850

Exposition0.8

Ouverturef/13.0

Longueur focale16 mm (Minolta fisheye)

Vitesse ISO200

Détection du degré d'exposition+1.3 EV

 

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The cathedral of Saint-Pierre-et-Saint-Paul de Troyes in the old town of Troyes, Champagne, France

 

Some background information:

 

The Gothic cathedral of Saint-Pierre-et-Saint-Paul de Troyes is the main Catholic church in the city of Troyes. It is dedicated to Saint Peter and Saint Paul. The church is the episcopal seat of the bishop of Troyes. Since 1862, Saint-Pierre-et-Saint-Paul de Troyes is listed as a national historic monument (in French: "monument historique").

 

After a fire had destroyed the town and badly damaged the old cathedral in 1188, its reconstruction in the Early Gothic style began in 1199. Originally, the cathedral was planned with two rather identical towers. But only the Saint Peter’s Tower in the north was edified and finished in the 17th century, while the Saint Paul’s Tower in the south was never built.

 

In May 1420, the Treaty of Troyes was signed in the cathedral between King Henry V of England, his ally Philip of Burgundy and Queen Isabel, wife of the mad King Charles VI of France whereby the throne of France would pass to Henry on the death of Charles rather than to Charles son. Henry married Catherine of Valois, the French king's daughter, shortly afterwards in Troyes, either at the cathedral or the church of St Jean.

 

At the beginning of the 16th century, a new building campaign began, this time in the late Gothic Flamboyant style. It was conducted by the master builder Martin Chambiges. The new west front he designed followed the model of Reims Cathedral and other 13th century cathedrals, with three portals separated by strong buttresses, each topped by a high pointed arch.

 

The first level of the west front was finished in 1531 and the second level was completed in 1554. Afterwards, the work on the Saint Peter’s Tower began, which was finished in 1634. During the French Revolution, the cathedral suffered major damage. In 1794, a jeweller led a mob that looted the treasury, seizing and melting down the previous gold and silver sacred objects. However, during the 19th and 20th centuries, the church underwent several campaigns of restoration. Today, it still has a large number of its precious original stained glass windows, which were installed from the 13th to 16th century.

 

With a population of roughly 62,000, the city of Troyes is the capital of the French department of Aube. It is also the centre of the agglomeration community Troyes Champagne Métropole, which is home to more than 170,000 inhabitants. The town is located on the Seine river about 140 km (87 miles) south-east of Paris and it is also situated in the southern part of the Champagne wine region.

 

Prehistoric evidence has been found in the Troyes area, suggesting that the settlement may have developed as early as 600 BC. Celtic grave-mounds have been found near the city, and Celtic artifacts have been excavated within the city grounds. Troyes developed as early as the Roman era, when it was known as Augustobona Tricassium and stood at the hub of numerous highways, primarily the Via Agrippa. It led north to Reims and south to Langres, while other Roman routes from Troyes led to Poitiers, Autun and Orléans.

 

From the Gallo-Roman city of the early Empire, some scattered remains have been found, but no public monuments, other than traces of an aqueduct. By the Late Empire the settlement was reduced in extent. It was referred to as Tricassium or Tricassae, the origin of its French name Troyes. From the 4th century AD, the people had become Christian and the city was designated as the seat of a bishop. However, it took several centuries before Troyes gained importance as a medieval centre of commerce.

 

In 451, the Battle of the Catalaunian Plains, also called the Battle of Troyes, between the army of the Roman general Flavius Aetius and the Visigothic king Theodoric I on the one side and the Hun troops of Attila on the other side was fought nearby. As a result, the Huns withdraw from Gaul, however, the battle’s tactical outcome is still disputed.

 

Troyes’ first cathedral occupied the site of the current one. Following depredations to the city by the Normans, the counts of Champagne chose Troyes as their capital at the end of the 9th century. The town remained the capital of the Province of Champagne until the French Revolution at the end of the 18th century, when it was replaced as the capital by the city of Reims.

 

In 1285, when King Philip IV of France united Champagne with the royal domain, the town kept a number of its traditional privileges. In 1420, the Treaty of Troyes was signed in the city, by which Henry V of England was betrothed to Catherine, daughter of Charles VI of France. Under the terms of the treaty, Henry V was to succeed Charles, to the detriment of Charles’ son with the same name. But the high-water mark of Plantagenet hegemony in France was reversed when the Dauphin (the legal heir to the throne), afterwards King Charles VII, and Joan of Arc recovered Troyes in 1429.

 

In 1524, a great fire destroyed much of the medieval city, although the city had numerous canals separating its different quarters. However, Troyes was rebuilt quickly. But in the following decades, its commercial importance decreased, as much of France’s trade was shifted from the land route to the sea route. In the 16th and 17th centuries, the city changed from a former centre of commerce to a centre of the textile industry. At the same time it became a heartland of the Huguenots. That’s why Troyes was hit hard by the annulment of the Edict of Nantes in 1685, which had granted the Huguenots substantial rights in the nation.

 

In 1814, at the end of the Napoleonic Wars, Troyes was chosen as a strategically significant place by the Austrian army. In the course of the 19th century, the city’s population increased and a train station was built. In 1933, even an airport was established, but this airport has lost most of its former importance by now. However, still important for the city is its rank as a centre of champagne production. Of course it is only coincidence, but if you have a look on Troyes’ old town on a map, it has the shape of a champagne cork.

 

Today, Troyes mainly lives from tourism and also champagne production. The textile industry has become less important, although the company Devanlay still produces garments for the fashion label Lacoste. The old town of Troyes is well-worth visiting. Many half-timbered houses, mainly from the 16th century have surivived and it’s really a pleasure to stroll through the streets and also taste some local specialties like Andouillette or Chaource cheese.

... wouldn’t be quite like this. I don’t want a place bigger than I can take care of by myself. It would take me a month just to cut the grass here! Fortunately, for all who visit, there are others who keep this place spiffy.

 

Joyce and I had been on the hunt for castles associated with her Scottish ancestry, though this is not one of them. This is Duart Castle on the Isle of Mull in Scotland, as seen from the ferry. It dates back to the 13th century and is the seat of Clan MacLean. There’s quite a history to this place, much of it not so good for the MacLeans, but it is history nonetheless, and many can trace their ancestry to this place.

 

Many in the United Kingdom seem to have little or no interest in genealogy, though, with some in Scotland who have interest in seceding from the UK, you would think that they would have at least some passing interest in their ancestry as well. Many here in the states are truly mutts, with ties all over this world... that’s largely why they have such concern for their ancestry, as does Joyce. Joyce’s involvement in this has been interesting to me, and I have helped her with her work as a North Carolina convener of the House of Boyd, which is essentially a Scottish Clan. Distant voices draw me on too, though they are those of the Bible and of the Reformation, such as John Knox from here in Scotland... I’m concerned more for where I’m going than where I’ve been.

 

I grew up in a military family that moved around this country... a lot! We had no roots, and I didn’t really get to know others of my extended family until later in life. I was much a loner then, as I hated leaving friends behind between stations... genealogy just hasn’t been as important to me, because it was difficult to wrap my mind around such connections... and I’m still working on that, which is somewhat weird to me. I love people, I love the interaction with people, and I have a compassion for people, as I hate to see others hurt... and yet, deep down, I’m an introvert. Figure that out!

 

There’s a small town in Virginia named for some of Joyce’s distant kin, Boydton. She is always invited to Boydton Day, a celebration with a parade that attracts many descendants... it concludes with a service at the old church and a catered dinner at the historic Boyd Tavern. We attended a service along with Joyce’s mother that was only an homily given by an apparent agnostic, who ended her tirade with “And I am the great, great, great, (etc) grandniece of Robert Boyd (one of the forebears of the Boyd family) and the great, great, (etc) grandniece of William Boyd (another forebearer), and it is well documented!” As that "sermon" took us to no edifying solution, my first thought was “Whoop-de-doo!” My second thought wasn’t much better.

 

Back at the Boyd Tavern, I noticed many had oversized permanent name tags that also gave their supposed association with the Boyd ancestors. It was written as "GGGGGG Grandson of so-and-so", followed by another line, and often another. This included the woman who gave the presentation at the service. So, I found the largest stick-on name label I could find, put as many Gs as I could fit on it, followed by ... "grandnephew, once removed, of Thag Boyd, famous Scottish caveman... and it is well documented!" Everyone was amused... with the exception of the pretentious presenter, which left me with only one conclusion: mission complete!

  

*

(n.) Beginning

 

1.the act of starting something

2.the first part or section of something

3.the event consisting of the start of something

4.the place where something begins, where it springs into being

5.the time at which something is supposed to begin

 

Beginning of a New Day, Boothbay Harbour, Maine, USA. (2006 archives)

 

PixQuote:

"The charm, one might say the genius, of memory is that it is choosy, chancy and temperamental; it rejects the edifying cathedral and indelibly photographs the small boy outside, chewing a hunk of melon in the dust. "

-Elizabeth Barrett Browning

 

Frankreich / Elass - Andlau

 

Andlau (French pronunciation: [ɑ̃dlo] [andlau]; Alsatian: Àndlöi) is a commune in the Bas-Rhin department in Alsace, Grand Est region of northeastern France.

 

The village owes its origin to Andlau Abbey which was founded in 880 by Richardis, the empress of Charles the Fat. Andlau has been a wine-growing centre and traveler destination since its earliest days.

 

The inhabitants of the commune are known as Andlaviens or Andlaviennes.

 

The commune has been awarded two flowers by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom.

 

Geography

 

Andlau is located some 40 km south by south-west of Strasbourg and 20 km north of Selestat. It is a small town in the Canton of Barr located in the valley of the Andlau river in the foothills of the Vosges Mountains. The surroundings of Andlau town are entirely the Vosges, including a summit, the Stosskopf, which attains a height of 700 metres. The surrounding communes include Mittelbergheim to the north-east, Eichhoffen to the east, Bernardvillé to the south, Le Hohwald to the north-west and Barr. The commune has an area of 23.69 km² and its highest point is towards the northern tip of Niederberg and rises to 807 metres.

 

Access to the commune is by the D62 road from Exit 13 on the A35 autoroute which goes west to the town. There is also the D425 from just north of Eichhoffen going west to the village then continuing west to Le Hohwald.

 

West of the town the commune is entirely forested with an extensive network of forest roads. East of the town there is a small area of farmland.

 

Watercourses

 

The Andlau River: a small river which rises in the Vosges Mountains near the Champ du Feu which is a mountain situated at the eastern end of the Ban-de-la-Roche. It flows from west to east through Andlau, Eichhoffen, Saint-Pierre, Stotzheim, Zellwiller, Hindisheim, Lipsheim, and Fegersheim then empties into the Ill downstream of Ill commune. Further upstream the waters of the Valff and the Kirneck used to power 60 mills and other factories until the 19th century. Its course is about 45 km.

 

Toponymy

Andelaha

Andelelaha

Andeloïa

Andeloha (999 AD)

Andelow

Andeloa

Andelow

Andelach (1126)

 

Origins of the name

 

Andlau is a distortion of the word Andelaha from Andelaw or Andlaw. Andelaha could come from the original name of the river of which there are traces in old maps drawn in the 15th and 16th centuries. The Andlau River is 42.8 km long and flows from the Champ du Feu to the Ill and is the origin of the name of the town. On 30 July 1857 Andlau was called Andlau-au-Val to distinguish it from that of Andelot in Haute-Marne. At the beginning of the 20th century the name became Andlau.

 

History

 

An area occupied since Gallo-Roman times

 

The village undoubtedly already existed in Gallo-Roman times. The village developed around the abbey of nuns founded in 880 AD by Richarde de Souabe, daughter of the Count of Alsace who was known as Erchangar. Sainte Richarde later the wife of Emperor Charles the Fat who was grandson of Louis the Pious.

 

The foundation of the abbey

 

The abbey was initially placed in Saint-Sauveur following the rule of Saint Benedict and received the protection of the Pope. It was allowed to raise money until 1004. It was endowed with substantial assets and subsequently received many privileges . The Emperor Charles IV, in confirming it in 1347, declared the abbey free of all charges and contributions and granted to the abbess Adelaide de Geroldseck, and her successors, the title of Princess of the Empire. The exact date of its secularization is not known but it is believed that it took place between the 12th and 14th centuries. In addition to the charter from Emperor Charles IV many other anterior and posterior diplomas were granted to the abbey to confirm the privileges it had already obtained or to give it new ones. The recipients were required to demonstrate sixteen Quarters of nobility without misalliance and the most illustrious families of Alsace and Germany vied for the honour of admitting their girls. They were not subject to a vow and could, when they wished, return to their families and even marry.

 

This abbey received almost from its inception an illustration that greatly contributed to its prosperity and its status. It is known that the Emperor Charles the Fat was too weak to govern the vast empire that had been reunited under him by the death of his two brothers left in the care of the Empress Richarde, his wife. She had to advise Liutward, Bishop of Vercelli. Courtiers, jealous of the authority of the bishop and the confidence that was accorded him by the Empress, long meditated his ruin and found a way to turn the heart of the weak monarch to jealousy which piety, talents, the eminent qualities of his wife, and twenty-five years of constantly happy marriage were powerless to stop. Liutward was expelled from the court and the repudiated Empress retired to the monastery of Andlau. The legend of Saint Richarde was that she suffered the ordeal of fire and, dressed in a shirt coated with wax, was set fire in four places, she was not burned by the flames which were miraculously extinguished. In any case it was in this monastery that the wife of Charles the Fat ended her days in prayer and good works. She also found a source of consolation in letters in which she wrote with great distinction several beautiful poems which have been preserved until now where she writes of her resignation and the purity of her soul. She died before the end of the 9th century and was buried in a side chapel of the Andlau church. A century and a half later she was canonized by Pope Leo IX who was in Alsace, his homeland, and came to bless Andlau's new church built by the Abbess Mathilde, sister of Emperor Henry III.

 

Andlau family

 

The first references to the house of Andlau are in the 12th century which makes this family one of the oldest lines in France. The Andlau line forms 0.5% of the French nobility and their origins date back to the late Middle Ages so are considered old nobility – distinguished nobility or ancient nobility. The nobles of Andlau may have given their name to the town. According to some sources, the Andlau family arrived in Alsace in Roman times with another family: the Dandolo of Venice. This family had founded the castle of Bas-d'Andlau.

 

Another version attributes the creation of the town to a man named Balthasard d'Andolo, a native of Bologna. He would have followed Charlemagne who was heading north in the 8th century. It would then be located in the valley of Eleon and could be the origin of the foundation of the noble lineage of the Andlau family who gave their name to Andlau. Balthasard and his son founded a small monastery in the valley near the Andlau river. This theory would therefore go against the version that it was Sainte Richarde who founded the abbey.

 

Another proposal speaks of a knight of Andlau who helped Richarde to find a location where the bear was scratching the ground. The Andlau family acceded to the status of knights from the 9th century. They gave their name to the town and thus made bequests to the abbey. But one[who?] can also argue that the family took the name of the town which later gave them their coat-of-arms. The first character, Gunther d'Andalau, was cited in 1141 and became abbot of Saint-Blaise. The lords of Andlau won renown during the Battle of Sempach on 9 July 1386, during which the Earl of Andlau lost four of his sons. It was particularly affected by the Thirty Years' War.

 

The Andlau family are related to many characters in the history of France, such as Claude-Adrien Helvetius, Jacques Necker, Germaine de Staël, Jean Le Marois, Hardouin-Gustave Andlau, and Albert de Mun.

 

The village formed around the abbey

 

Gradually a small town formed around the abbey that the abbess gave in fief in 1364 to the Andlau noble family, one of the most illustrious of Alsace, whose history is mentioned for the first time in 1141 when Ganthier Andlau was abbot of Saint-Blaise. Nine years later Othon, Count of Andlau (Otto de Andelaha) appeared as a witness to a diploma from the Emperor Conrad III in favour of the Abbey of Saint-Blaise. This family has produced many distinguished men which proves the high esteem which it enjoyed under an ancient privilege which was renewed by Charles V in 1550: the eldest son bore the title of hereditary knight of the Holy Roman Empire.

 

Andlau as a pilgrimage town

 

A pilgrimage was dedicated early in its history to the Virgin Mary in the crypt of the church where the canons met every day to pray. The 14th century tower which is often confused Spesbourg Castle - is attested to belong to the nobles of Dicka. Between the 13th and 14th centuries four castles were built in Andlau. One of these was the castle of Wibelsberg-Crax of which there are a few remnants. Built between 1232 and 1249 it was first demolished by Eberhard d'Andlau then rebuilt from 1293. It was called Crax Castle but was finally demolished in 1298 by order of the Bishop of Strasbourg. The lords of Andlau fortified the town in the 15th century. In 1695 the Forest Ranger of Andlau, Frantz Ettighoffen, killed one of the last bears in the Vosges Mountains. In the middle of the 19th century Andlau had more than eighteen mills. The town is surrounded by forests and vineyards.

 

(Wikipedia)

 

Andlau est une commune française viticole située dans la circonscription administrative du Bas-Rhin et, depuis le 1er janvier 2021, dans le territoire de la Collectivité européenne d'Alsace, en région Grand Est.

 

Cette commune se trouve dans la région historique et culturelle d'Alsace.

 

Elle est une étape à la fois sur :

 

la Route des vins d'Alsace ;

la Véloroute du vignoble d'Alsace (EuroVelo 5) ;

la partie vosgienne (versant alsacien) du sentier de grande randonnée GR 5 et du sentier européen E2 ;

la partie alsacienne du chemin de Saint-Jacques de Compostelle.

 

Géographie

 

Andlau est une petite ville du Bas-Rhin de l'arrondissement de Sélestat-Erstein et du canton d'Obernai située dans la vallée de l'Andlau sur les contreforts des Vosges. La banlieue d'Andlau est entièrement occupée par les Vosges, dont un sommet, le Stosskopf, y atteint une hauteur de 700 mètres. Ses communes limitrophes sont Mittelbergheim au nord-est, Eichhoffen à l'est, Bernardvillé au sud, le Hohwald au nord-ouest et Barr. La commune possède une superficie de 23,69 km2 dont le point le plus haut culmine à 807 mètres vers la pointe nord du Niederberg.

 

Cours d'eau

 

L'Andlau : petite rivière qui prend sa source dans les Vosges, près du Champ du Feu, montagne située à l'extrémité orientale du Ban de la Roche ; elle coule d'ouest en est, arrose Andlau, Eichhoffen, Saint-Pierre, Stotzheim, Zellwiller, Hindisheim, Lipsheim, Fegersheim et se jette dans l'Ill en aval de cette dernière commune, après avoir reçu en amont de Valff les eaux de la Kirneck et mis en mouvement près de 60 moulins et autres usines vers le xixe siècle. Son cours est d'environ 45 kilomètres.

 

Urbanisme

 

Typologie

 

Andlau est une commune urbaine, car elle fait partie des communes denses ou de densité intermédiaire, au sens de la grille communale de densité de l'Insee. Elle appartient à l'unité urbaine d'Andlau, une agglomération intra-départementale regroupant 3 communes et 2 916 habitants en 2017, dont elle est ville-centre. La commune est en outre hors attraction des villes.

 

Toponymie

 

Andelaha

Andelelaha

Andeloïa

Andeloha, 999

Andelow

Andeloa

Andelow

Andelach, 1126

 

Origine du nom

 

Andlau est une déformation du mot Andelaha en Andelaw ou Andlaw. Le premier mot pourrait provenir du nom primitif de la rivière dont on trouve des traces dans les anciennes cartes établies aux xve et xvie siècles. Cette rivière de 42,8 km coule depuis le Champ du Feu jusqu'à l'Ill et se trouve être à l'origine du nom de la commune. La ville a ensuite pris le nom de la rivière. Le 30 juillet 1857, Andlau s’appelait Andlau-au-Val pour la distinguer de celui de Andelot dans la Haute-Marne. Au début du xxe siècle, le nom redevient Andlau.

 

Histoire

 

Un domaine occupé dès l'époque gallo-romaine

Le village est sans doute déjà occupé à l'époque gallo-romaine. Ensuite, c'est autour de l'abbaye de moniales fondée en 880 par Richarde de Souabe, fille du comte d'Alsace connu sous le nom d'Erchangar, que se développe le village. Sainte Richarde épouse par la suite l'empereur Charles le Gros, petit-fils de Louis le Débonnaire.

Selon la légende, Richarde est accusée d'inconduite par son mari. Afin de démontrer son innocence, elle se soumet à l'épreuve du feu : pieds nus et vêtue d'une chemise enduite de cire, elle traverse les flammes sans la moindre brûlure. Justifiée, mais meurtrie par le vil soupçon, elle quitte son château et s'en va dans la forêt. Un ange lui apparaît et lui enjoint de fonder un monastère à l'endroit que lui indiquera une ourse. À l'entrée du val d'Eléon, sur les bords du torrent, elle aperçoit la bête annoncée qui gratte la terre. C'est donc à cet endroit que s'élèvera l'abbaye d'Andlau. En souvenir de son origine, l'abbaye logera et nourrira gratuitement les montreurs d'ours de passage et entretiendra un ours vivant.

Telle est la légende. En fait, Richarde a déjà fondé Andlau depuis 7 ans quand Charles le Gros la répudie. C'est là qu'elle se retire. Elle est canonisée en 1049 par le pape Léon IX, un Alsacien. Les religieuses d'Andlau, toutes de noble naissance, avaient le droit de quitter le couvent et de se marier. Seule l'abbesse prononçait des vœux définitifs. Elle portait le titre, envié, de princesse du Saint-Empire.

 

La fondation d'une abbaye

 

Cette abbaye fut placée initialement au Saint-Sauveur et suivait la règle de saint Benoît qui reçut la protection du pape. Elle fut autorisée à battre monnaie jusqu'en 1004. Elle fut dotée de biens considérables et reçut par la suite un grand nombre de privilèges. L'empereur Charles IV, en les confirmant en 1347, déclara l'abbaye exempte de toutes charges et contributions et accorda à l'abbesse Adélaïde de Géroldseck et à celles qui lui succédèrent, le titre de princesse de l'Empire. On ne connaît pas précisément l'époque précise de sa sécularisation ; on croit qu'elle eut lieu entre les xiie et xive siècles. Outre la charte de l'empereur Charles IV, un grand nombre d'autres diplômes antérieurs et postérieurs ont été concédés à cette abbaye, soit pour confirmer les privilèges qu'elle avait déjà obtenus, soit pour lui en accorder de nouveaux. Les récipiendaires étaient obligés de faire preuve de seize quartiers de noblesse sans mésalliance, et les familles les plus illustres d'Alsace et d'Allemagne briguaient l'honneur d'y faire admettre leurs filles ; elles n'étaient assujetties à aucun vœu et pouvaient quand bon leur semblait, rentrer dans leurs familles et même se marier.

 

Cette abbaye reçut, presque dès son origine, une illustration qui n'a pas peu contribué à sa prospérité et à sa considération. On sait que l'empereur Charles le Gros, trop faible pour gouverner le vaste empire qu'il avait réuni sous son sceptre par la mort de ses deux frères, en laissa les soins à l'impératrice Richarde, son épouse ; elle avait pour conseiller Liutward, évêque de Verceil. Les courtisans, jaloux de l'autorité de l'évêque et de la confiance que lui accordait l'impératrice, méditaient depuis longtemps sa ruine et trouvèrent le moyen d'allumer dans le cœur du faible monarque une jalousie que la piété, les talents, les éminentes qualités de son épouse et vingt-cinq ans de mariage constamment heureux furent impuissants à écarter. Liutward fut chassé de la cour ; l'impératrice répudiée se retira dans le monastère d'Andlau. La légende de sainte Richarde porte qu'elle subit l'épreuve du feu, et que revêtue d'une chemise enduite de cire, à laquelle ont mis le feu en quatre endroits, elle ne fut point atteinte par les flammes qui s'éteignirent miraculeusement. Quoi qu'il en soit, ce fut dans cette abbaye que l'épouse de Charles-le-Gros finit ses jours dans la prière et les bonnes œuvres. Elle trouva aussi une source de consolations dans les lettres, qu'elle cultivait avec une grande distinction ; plusieurs belles poésies, qui sont parvenues jusqu'à nous, peignent sa résignation et la pureté de son âme. Elle mourut avant la fin du ixe siècle et fut enterrée dans une chapelle latérale de l'église d'Andlau ; un siècle et demi plus tard, elle fut canonisée par le pape Léon IX, qui s'étant trouvé en Alsace, sa patrie, vint à Andlau bénir l'église nouvellement construite sous l'abbesse Mathilde, sœur de l'empereur Henri III.

 

La famille d'Andlau

 

On trouve les premières références à la maison d'Andlau au xiie siècle, ce qui fait de cette famille une des lignées les plus anciennes de France. La ligne d'Andlau fait partie des 0,5 % de la noblesse française dont les origines remontent au bas Moyen Âge ; elle est ainsi considérée comme noblesse d'épée - noblesse de race ou noblesse ancienne . Les nobles d'Andlau ont peut-être donné leur nom à la ville. Selon certaines sources, la famille d'Andlau serait arrivée en Alsace à l'époque romaine avec une autre famille, les Dandolo de Venise. Cette famille aurait fondé le château du Bas-d'Andlau. Une autre version attribue à un dénommé Balthasard d'Andolo natif de Bologne la création de la ville. Il aurait suivi Charlemagne qui se dirigeait vers le nord vers le viiie siècle. Il se serait alors fixé au val d'Eléon et pourrait donc être à l'origine de la fondation de la lignée de la famille noble des Andlau qui a donné le nom à Andlau. Balthasard et son fils auraient fondé un petit couvent dans la vallée, près de la rivière Andlau. Cette théorie irait donc à l'encontre de la version qui veut que ce soit sainte Richarde qui ait fondé l'abbaye. Une autre proposition parle d'un chevalier d'Andlau qui aurait aidé Richarde à trouver l'emplacement où l'ours grattait le sol. La famille des Andlau accédera au statut de chevaliers à partir du ixe siècle. Ils prendront le nom de la cité et feront ainsi des legs à l'abbaye. Mais on peut aussi prétendre que cette famille a pris le nom de la ville, qui par la suite lui a donné ses armoiries. Le premier personnage, Gunther d'Andalau, cité en 1141, devient abbé de Saint-Blaise. Les sires d'Andlau s'illustrent durant la bataille de Sempach, le 9 juillet 1386, durant laquelle le comte d'Andlau perd quatre de ses fils. Elle est particulièrement affectée par la guerre de Trente Ans.

 

La famille d'Andlau est liée à de nombreux personnages de l'histoire de France, comme Claude-Adrien Helvétius, Jacques Necker, Germaine de Staël, Jean Le Marois, Hardouin-Gustave d'Andlau ou encore Albert de Mun.

 

Le village se forme autour de l'abbaye

 

Peu à peu, il se forma aux alentours de l'abbaye une petite ville que l'abbesse donna en fief, en 1364, à la famille noble d'Andlau, une des plus illustres de l'Alsace, dont l'histoire fait mention pour la première fois en 1141 : Ganthier d'Andlau fut abbé de Saint-Blaise. Neuf ans après, Othon, comte d'Andlau (Otto de Andelaha comes) paraît comme témoin dans un diplôme donné par l'empereur Conrad III en faveur de l'abbaye de Saint-Blaise. Cette famille a produit un grand nombre d'hommes distingués, et ce qui prouve la haute considération dont elle jouissait, c'est qu'en vertu d'un antique privilège, renouvelé par Charles Quint, en 1550, l'aîné portait le titre de chevalier héréditaire du Saint-Empire.

 

Andlau une ville de pèlerinage

 

Un pèlerinage fut dédié très tôt à la Vierge Marie dans la crypte de l'église où les chanoinesses se réunissaient chaque jour pour prier. Au xive siècle une tour — souvent confondue avec le château de Spesbourg — est attestée appartenir aux nobles de Dicka. Entre le xiiie et le xive siècle quatre châteaux sont édifiés à Andlau. L'un de ces châteaux est celui du Wibelsberg-Crax dont il ne subsiste que quelques vestiges. Construit entre 1232 et 1249 il est démoli une première fois par Eberhard d'Andlau, puis reconstruit à partir de 1293. Il prend alors le nom de château de Crax, mais est définitivement démoli en 1298 sur ordre de l'évêque de Strasbourg. Les sires d'Andlau fortifient la ville au xve siècle. En 1695 le garde forestier d'Andlau, Frantz Ettighoffen, tue l'un des derniers ours des Vosges. Au milieu du xixe siècle, Andlau compte encore dix-huit moulins. La commune est entourée de forêts et de vignes.

 

(Wikipedia)

 

Andlau ist eine französische Gemeinde mit 1763 Einwohnern (Stand 1. Januar 2020) im Département Bas-Rhin in der Europäischen Gebietskörperschaft Elsass und in der Region Grand Est. Sie gehört zum Arrondissement Sélestat-Erstein und zum Kanton Obernai.

 

Geografie

 

Andlau liegt am Fuß der Vogesen, am westlichen Rand der Oberrheinebene, etwa 14 Kilometer nördlich von Sélestat und 28 Kilometer südwestlich von Straßburg. Das zu neun Zehnteln bewaldete Gemeindegebiet reicht weit nach Westen in die Vogesen hinein. Durch den Ort fließt die Andlau, ein Nebenfluss der Ill.

 

Nachbargemeinden von Andlau sind Barr und Mittelbergheim im Nordosten, Eichhoffen im Osten, Bernardvillé im Süden, Reichsfeld und Albé im Südwesten sowie Le Hohwald im Westen.

 

Geschichte

 

Die Abtei Andlau wurde 880 von der Kaiserin Richardis gegründet. Sie war von ihrem Gatten Kaiser Karl III. verstoßen worden und wurde später heiliggesprochen. Ihr Grab in Andlau wurde zur Wallfahrtsstätte. Der Legende zufolge wurde ihr der geeignete Platz dafür von einer wilden Bärin gezeigt. In der als einem der ältesten Teile der Kirche erhaltenen, zweiräumigen Krypta aus dem Jahre 1045, gegen Osten um 1080 vergrößert, steht eine Bärenskulptur. Die Krypta ist eine der ältesten Wallfahrtsorte zur Jungfrau Maria im Elsass. Hierher kamen Rheumatismus-Geplagte und Fußkranke, um Heilung zu erhalten. Um das Kloster herum entwickelte sich der Ort. Für die weitere Ortsgeschichte war das Adelsgeschlecht Andlau von Bedeutung. Dessen Wappen wurde in umgekehrter Farbstellung zum Gemeindewappen. 1287 wurde das Benediktinerinnenstift reichsunmittelbar und 1499 in ein Damenstift umgewandelt, bevor es in der Französischen Revolution im Jahre 1791 aufgelöst wurde.

 

Von 1871 bis zum Ende des Ersten Weltkrieges gehörte Andlau als Teil des Reichslandes Elsaß-Lothringen zum Deutschen Reich und war dem Kreis Schlettstadt im Bezirk Unterelsaß zugeordnet.

 

Wirtschaft

 

Der Ort lebt überwiegend vom Weinanbau und Weinhandel (siehe auch Weinbaugebiet Elsass). Er liegt an der Elsässer Weinstraße. Auf dem Gemeindegebiet befinden sich die drei Alsace Grand Cru-Lagen Kastelberg, Moenchberg und Wiebelsberg.

 

Gemeindepartnerschaften

 

Seit 1961 ist Andlau mit der deutschen Gemeinde Sexau im südbadischen Landkreis Emmendingen partnerschaftlich verbunden.

 

(Wikipedia)

Jheronimus Bosch (Joen van Aken) 1450-1516. Hertogenbosch.

Le Chariot de Foin.The Hay Cart. Escorial

Hertogenbosch Jheronimus Bosch Art Center

 

Le Chariot de Foin : Au centre l'humanité habitée par le Mal se dirige vers les Enfers du volet de gauche. L'amour physique, la poésie et la musique qui voyagent tout en haut n'échapperont pas au sort commun qui concerne aussi les Papes, les Empereurs et les Rois. Tout comme la foule avide et violente des hommes ordinaires, qui cherchent à arracher au passage quelques bribes de paille.

La signification des personnages tout en bas du tableau est plus énigmatique. Ils semblent échapper à la folie des hommes. Mais est ce bien certain ?

L'Enfer du volet de droite voit des diables édifier une tour de grande hauteur tout à fait semblable à nos buildings géants contemporains. Ces tours, parodie de la Tour de Babel, s'effondreront dans le feu comme rappelé en arrière plan du tableau. N'est ce pas ?

Le Chariot de Foin arrive du volet de gauche qui représente la chute des Anges Rebelles, la création d'Eve, le Péché Originel, et l'Expulsion du Paradis. Rappel d'un fait certain : le Mal existe dès la création de l'Univers.

  

The Hay Cart: In the center of humanity inhabited by Evil goes to the hells of the left pane. The physical love, the poetry and the music which travel at the top will not escape the common destiny which also concerns the Popes, the Emperors and the Kings. Just like the greedy and violent crowd of ordinary men, who try to snatch a few pieces of straw in the process.

The meaning of the characters at the bottom of the painting is more enigmatic. They seem to escape the madness of men. But is this certain?

The Hell of the right wing sees devils build a tower of great height quite similar to our contemporary giant buildings. These turns, parody of the Tower of Babel, will collapse in the fire as recalled in the background of the painting. Is not it ?

The Hay Cart comes from the left wing, which represents the fall of the Rebel Angels, the creation of Eve, the Original Sin, and the Expulsion from Paradise. Reminder of a certain fact: Evil exists from the creation of the Universe.

 

Hé les amis vous savez bien que j'en n'ai rien à cirer de l'explore mais ça serait bien si cette publication traduite pouvait y figurer pour qu'un maximum de personnes la voient.

Si ça pouvait avoir un petit impact aussi minime soit il, ce serait bien. J'en appelle à vos favoris donc.

  

J'espère que tout le monde est au courant du fait que starlink envoi des chiées de satellites... même à Nice un des multiples envoi a été observé. Starlink affirme que c'est pour la téléphonie et le nombre de satellites cibles à envoyer est édifiant! Il pensent jusqu'à 42000 satellites en plus en fin de mission...Je trouve que ces envois de satellites sont suffisamment inquiétants de par le budget que ça représente pour que soit juste pour la téléphonie et l'internet.

 

Voilà donc un autre documentaire sur la 5G cette fois (sous titré français). Suivi d'une pétition.

  

www.youtube.com/watch?v=jxiGnE9qXvY&feature=youtu.be&...

 

Pétition: www.leslignesbougent.org/petitions/stop-5g-en-france/?fbc...

 

J'oubliais un autre super documentaire en français sur les ondes leurs effets et l'intimidations des multinationnales. www.youtube.com/watch?v=KVd3NXvTH4s&fbclid=IwAR1V3ynY...

 

En ce moment pendant ce confinement on installe des antennes 5G en France voici le lien des textes en vigueur. C'est considéré comme une première nécessité donc www.vie-publique.fr/loi/273988-ordonnance-covid-19-reseau....

 

et pour finir en folie un extrait de c'est dans l'air: www.facebook.com/Cdanslairf5/videos/219840489099559/UzpfS...

 

======================================================

google translate:

 

The world will not be destroyed by those who do evil, but by those who watch them without doing anything.

 

Albert einstein

  

I hope everyone is aware of the fact that starlink sends satellite files ... even in Nice one of the multiple sending has been observed. Starlink says it is for telephony and the number of target satellites to send is edifying! They think up to 42,000 more satellites at the end of the mission ... I find that these satellite shipments are sufficiently worrying given the budget it represents to be fair for telephony and the Internet.

 

So this is another documentary on 5G this time (with French subtitles). Followed by a petition.

 

Pétition: www.leslignesbougent.org/petitions/stop-5g-en-france/?fbc...

 

www.youtube.com/watch?v=KVd3NXvTH4s&fbclid=IwAR1V3ynY...

  

At the moment during this confinement, 5G antennas are installed in France here is the link of the texts in force. It is considered a first necessity therefore.

 

www.vie-publique.fr/loi/273988-ordonnance-covid-19-reseau....

  

an extract of a french tv informations show

www.facebook.com/Cdanslairf5/videos/219840489099559/UzpfS...

   

MUSEE BROU

 

"Le monastère royal de Brou est un chef-d'œuvre de l'art gothique flamboyant flamand du début du XVIe siècle. Il se compose d'un ensemble de bâtiments monastiques construits entre 1506 et 1512, et de la somptueuse église Saint-Nicolas-de-Tolentin de Brou, édifiée de 1513 à 1532 par Louis van Bodeghem.

Cet ensemble architectural rare a été commandé par Marguerite d'Autriche, duchesse de Savoie, gouvernante des Pays-Bas bourguignons, marraine et tante de Charles Quint. Elle fit édifier l'ensemble en mémoire de son époux Philibert le Beau et pour respecter le vœu fait par sa belle-mère Marguerite de Bourbon". Wikipédia

Les anciens bâtiments monastiques comprennent deux cloîtres et abritent le musée de peinture.

L'église sert d'écrin aux trois tombeaux de Philibert le Beau au centre de l'abside, de sa mère Marguerite de Bourbon à droite et de sa femme Marguerite d'Autriche à gauche.

Les deux tombeaux de Philibert le Beau et de Marguerite d'Autriche ont deux étages. A l'étage supérieur le défunt est représenté habillé en costume de cour.

A l'étage inférieur il est présenté nu dans son linceul.

Le tombeau de Marguerite de Bourbon mère de Philibert le Beau, dans une niche creusée dans le mur de l'église, comporte un seul étage.

  

"The royal monastery of Brou is a masterpiece of Flemish flamboyant Gothic art from the early 16th century and consists of a group of monastic buildings built between 1506 and 1512 and the sumptuous church of St. Nicholas. -de-Tolentin de Brou, built from 1513 to 1532 by Louis van Bodeghem.

This architectural ensemble was built on order of Marguerite d'Autriche, Duchess of Savoy, governess of the Burgundy Netherlands, godmother and aunt of Charles Quint. She built the whole in memory of her husband Philibert the Beautiful and to respect the wish made by his mother-in-law Marguerite de Bourbon. "Wikipedia

The ancient monastic buildings include two cloisters and house the painting museum.

The church serves as a showcase for the three tombs of Philibert le Beau in the center of the apse, of his mother Marguerite de Bourbon on the right and his wife Marguerite of Austria on the left.

The two tombs of Philibert the Beautiful and Margaret of Austria have two floors. On the upper floor the deceased is represented dressed in court costume.

On the lower floor he is presented naked in his shroud.

The tomb of Marguerite de Bourbon, mother of Philibert le Beau, in a niche carved in the wall of the church, has a single floor.

   

Hsi Lai Temple encompasses 15 acres and a floor area of 102,432 square feet. The temple's Ming (1268-1644 C. E.) and Ching (1644-1911 C.E.) dynasty architecture is faithful to the traditional style of buildings, gardens and statuary of traditional ancient Chinese monasteries. The ten-year planning and construction was completed in 1988. Hsi Lai means "coming to the West" and signifies the dedication of the Fo Guang Shan Buddhist Order to spread the teachings of the Buddha to those in the West. The International Buddhist Progress Society, a nonprofit organization, is the chartered name for the temple. The organization's headquarters is in Taiwan.

In 1967, Venerable Master Hsing Yun, the founder, established the Fo Guang Shan (Buddha's Light Mountain) Buddhist Order, which is the largest monastery in Taiwan, encompassing over 600 acres. Fo Guang Shan is a Mahayana Chinese Buddhism monastic order. Mahayana in China has separated to 8 different schools: Tian-tai, Pure Land, Ch'an, Hua-yen (Avatamsaka), Fa-Shiang (Yogacaran), Sanlun (Madhyamikan), Dhyana, and Esoteric (Tantra). Fo Guang Shan belongs to Lin-Chi Ch'an School. For the past 30 years, the Master has been instrumental in expanding religious freedom throughout Asia. The Fo Guang Shan Buddhist Order, through a Humanistic Buddhist orientation, works to unite all Buddhist schools and sects; it also fosters and promotes inter-religious dialogue among all spiritual traditions through symposia, conferences and services. The objectives of the Order are to provide confidence, joy hope and convenience to people. The Order has also established more than 100 temples worldwide. More than 1,300 monks and nuns serve in the Fo Guang Shan Buddhist Order.

Hsi Lai Temple was built to serve as a spiritual and cultural center for those interested in learning more about Buddhism and the Chinese culture. It is the idea of Venerable Master Hsing Yun to propagate "Humanistic Buddhism" and to create a Pure Land here on earth. Hsi Lai Temple is built to fulfill these goals in the United States. The temple's objectives are to nurture Buddhist missionaries through education, to propagate Buddhism through cultural activities, to benefit society through charitable programs, and to edify the populace through Buddhist practices.

These last days I study the vintage Lego style so I built this model (699 Safari photo) with parts I have in stock (means no old light gray, phtoshoped stickers and modern minfig). But the result is interesting, particularly the animals.

Don't know what I will do with that in the future but it's edifying.

We spied this lawn sign while driving through the historic fishing port of Ilwaco on the south end of Washington state's Long Beach Peninsula. It was both edifying and mysterious.

 

The mouth of the mighty Columbia River is not far from Ilwaco, so the sign is of local interest. However, when I refreshed my memory by consulting various sources on the chronology of the European discovery of the Columbia, I discovered a significant historical discrepancy between the information on the sign and the accepted historical narrative as to who was the first sea captain to sail into the river.

 

Not to put too fine a point on it, the Santiago did not enter the Columbia River on 17 August, 1775. Its captain, Bruno de Heceta y Dudagoitia, described the events of that day as follows:

 

"I did not enter and anchor in this port, which in my plan I suppose to be formed by an island, notwithstanding my strong desire to do so; because, having consulted with the second captain, Don Juan Perez, and the pilot Don Christoval Revilla, they insisted I ought not to attempt it, as, if we let go the anchor, we should not have men enough to get it up, and to attend to the other operations which would be thereby necessary. Considering this, and also, that in order to reach the anchorage, I should be obliged to lower my long boat (the only boat I had) and to man it with at least fourteen of the crew, as I could not manage with fewer, and also as it was then late in the day, I resolved to put out; and at the distance of three leagues I lay to. In the course of that night, I experienced heavy currents to the south-west, which made it impossible to enter the bay on the following morning, as I was far to leeward. These currents, however, convinced me that a great quantity of water rushed from this bay on the ebb of the tide."

en.wikisource.org/wiki/The_Columbia_River:_Its_History,_I...

 

If Heceta didn´t make the discovery, who did?

 

"On May 12, 1792, Gray returned south and crossed the Columbia Bar, becoming the first known explorer of European descent to enter the river. Gray's fur trading mission had been financed by Boston merchants, who outfitted him with a private vessel named Columbia Rediviva; he named the river after the ship on May 18."

en.wikipedia.org/wiki/Columbia_River

 

Since there does not appear to be any dispute over Gray´s discovery of the Columbia, the only way to reconcile the two accounts is that whoever supplied the information for the sign in Ilwaco was mistaken. If anyone has summoned the courage to find the sign´s owner and straighten them out, it did no good.

 

Below is an excerpt from an article about the exploration of the Pacific Northwest (PNW) that places the voyage of the Santiago into its proper historical context.

 

Resolving the historical issue was the easy part. Why the sign is where it is, who placed it there and when are facts that are completely unknown to me.

 

If I were pressed for an answer, I would speculate that the sign is connected to the bicentennial of Lewis and Clark's voyage of discovery in 2005 and 2006. Perhaps this was part of a series of signs placed throughout Ilwaco or the Long Beach Peninsula to tell the story of European discoveries in the Pacific Northwest.

 

However, the celebrations took place almost 20 years ago. The rainy climate here is not kind to painted signage of the home-made variety. The sign does not look like it has been exposed to the elements since 2005.

 

If I ever learn the history of the sign, I will post an update here. Perhaps it was erected in anticipation of the 250th anniversary of the Santiago´s voyage in 2025.

======================================================

From: Captain George Vancouver and the Lewis and Clark Expedition: A Round-About Connection

By Robert Heacock

 

Landmarks on the Pacific Northwest coast were first described with the 1603 discovery of Cape Blanco on the southern Oregon coast by Martin de Aguilar on the ship Tres Reyes.

 

Sailing from Acapulco, Mexico, Aguilar and most of his crew died of scurvy on the return, but his discovery was important to later explorers.

 

Juan Perez, originally from Majorca, Spain, sailing from San Blas (north of Puerto Vallarta, Mexico) January 25, 1774, aboard the frigate Santiago, was the first Spanish foray up the coast to determine any Russian presence, and solidify the Spanish claims of Discovery.

 

Perez voyaged to what is now Southeast Alaska, but returned to San Blas with no maps, no landings and no possession ceremonies, though he did briefly trade with the natives at different locations along the British Columbia coastline, including Nootka Sound on Vancouver Island.

 

In 1775 the Spanish sent a second expedition, again the Santiago plus another smaller ship, the Sonora, which was more to navigate the many small inlets and bays of the coast.

 

Bruno de Heceta (Hezeta) y Dudagoitia, a Basque from Bilbao, Spain, on board the Santiago first noticed the mouth of the ‘Great River of the West’ on August 17, 1775 writing:

 

‘ these currents and seething of the waters have led me to believe that it may be a mouth of some great river or some passage to another sea’.

 

But his crew was sick with scurvy, and he could not explore the opening of the river.

 

Guérite d'angle (échauguette) du fort de l'île Sainte-Marguerite, Cannes, France

 

Iles, avec Ste Honorat, occupées dès le Ve siècle av. J.-C.

Premiers forts édifiés par les espagnols puis renforcés par Vauban

Prison d'Etat dont le célèbre et énigmatique homme Masque de fer.

Des bunkers allemand y sont également construits durant la seconde guerre et n'ont pas servi car jamais équipé de canon.

Aujourd'hui un véritable paradis

 

~~~~

 

Corner watchtower (bartizan, échauguette) of the fort on Sainte-Marguerite island, Cannes, France

 

Islands, with Ste Honorat, occupied from the 5th century BC. J.-C.

First forts built by the spanish army then reinforced by Vauban famous military engineer

State prison including the famous and enigmatic Man in the Iron Mask

German bunkers were also built there during the WWII and were not used because they were never equipped with guns.

Today a true paradise

The Perturbed Sanctum

Captura de un tramo de la calle Larga en Cuenca, lugar con mucha historia en donde se encuentra edificado la Iglesia de Todos Santos, luego de su restauración, desde este punto se puede apreciar la parte moderna de la ciudad delimitada por el Río Tomebamba. / Capturing a stretch of Calle Larga in Cuenca, place rich in history where is edified the Church of Todos Santos after its restoration, from this point we can appreciate the modern part of the city bounded by the River Tomebamba.

A wireless keyboard is a priority.

 

The Perturbed Sanctum

And happily in a contemplative meditation about how nice it is to be at peace again while hanging out in Home Grid.

 

Sure, the optimal settings on this ol' laptop don't have all the graphical bells and whistles, but there's something edifying in being 'in the zone' of the minimalist moment. =~.^=

Apparently life in a bookstore is no page turner. Blissfully asleep in the shop window of The Bookstore, this orange tabby is completely oblivious to both his edified environment and the colorful display he inhabits. Nor does he notice the clusters of visitors who stop to ooo and ah at him. On Franklin St, Chapel Hill, NC. A sign outside cautions passersby not to tap on the glass.

Frankreich / Elass - Andlau

 

Andlau (French pronunciation: [ɑ̃dlo] [andlau]; Alsatian: Àndlöi) is a commune in the Bas-Rhin department in Alsace, Grand Est region of northeastern France.

 

The village owes its origin to Andlau Abbey which was founded in 880 by Richardis, the empress of Charles the Fat. Andlau has been a wine-growing centre and traveler destination since its earliest days.

 

The inhabitants of the commune are known as Andlaviens or Andlaviennes.

 

The commune has been awarded two flowers by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom.

 

Geography

 

Andlau is located some 40 km south by south-west of Strasbourg and 20 km north of Selestat. It is a small town in the Canton of Barr located in the valley of the Andlau river in the foothills of the Vosges Mountains. The surroundings of Andlau town are entirely the Vosges, including a summit, the Stosskopf, which attains a height of 700 metres. The surrounding communes include Mittelbergheim to the north-east, Eichhoffen to the east, Bernardvillé to the south, Le Hohwald to the north-west and Barr. The commune has an area of 23.69 km² and its highest point is towards the northern tip of Niederberg and rises to 807 metres.

 

Access to the commune is by the D62 road from Exit 13 on the A35 autoroute which goes west to the town. There is also the D425 from just north of Eichhoffen going west to the village then continuing west to Le Hohwald.

 

West of the town the commune is entirely forested with an extensive network of forest roads. East of the town there is a small area of farmland.

 

Watercourses

 

The Andlau River: a small river which rises in the Vosges Mountains near the Champ du Feu which is a mountain situated at the eastern end of the Ban-de-la-Roche. It flows from west to east through Andlau, Eichhoffen, Saint-Pierre, Stotzheim, Zellwiller, Hindisheim, Lipsheim, and Fegersheim then empties into the Ill downstream of Ill commune. Further upstream the waters of the Valff and the Kirneck used to power 60 mills and other factories until the 19th century. Its course is about 45 km.

 

Toponymy

Andelaha

Andelelaha

Andeloïa

Andeloha (999 AD)

Andelow

Andeloa

Andelow

Andelach (1126)

 

Origins of the name

 

Andlau is a distortion of the word Andelaha from Andelaw or Andlaw. Andelaha could come from the original name of the river of which there are traces in old maps drawn in the 15th and 16th centuries. The Andlau River is 42.8 km long and flows from the Champ du Feu to the Ill and is the origin of the name of the town. On 30 July 1857 Andlau was called Andlau-au-Val to distinguish it from that of Andelot in Haute-Marne. At the beginning of the 20th century the name became Andlau.

 

History

 

An area occupied since Gallo-Roman times

 

The village undoubtedly already existed in Gallo-Roman times. The village developed around the abbey of nuns founded in 880 AD by Richarde de Souabe, daughter of the Count of Alsace who was known as Erchangar. Sainte Richarde later the wife of Emperor Charles the Fat who was grandson of Louis the Pious.

 

The foundation of the abbey

 

The abbey was initially placed in Saint-Sauveur following the rule of Saint Benedict and received the protection of the Pope. It was allowed to raise money until 1004. It was endowed with substantial assets and subsequently received many privileges . The Emperor Charles IV, in confirming it in 1347, declared the abbey free of all charges and contributions and granted to the abbess Adelaide de Geroldseck, and her successors, the title of Princess of the Empire. The exact date of its secularization is not known but it is believed that it took place between the 12th and 14th centuries. In addition to the charter from Emperor Charles IV many other anterior and posterior diplomas were granted to the abbey to confirm the privileges it had already obtained or to give it new ones. The recipients were required to demonstrate sixteen Quarters of nobility without misalliance and the most illustrious families of Alsace and Germany vied for the honour of admitting their girls. They were not subject to a vow and could, when they wished, return to their families and even marry.

 

This abbey received almost from its inception an illustration that greatly contributed to its prosperity and its status. It is known that the Emperor Charles the Fat was too weak to govern the vast empire that had been reunited under him by the death of his two brothers left in the care of the Empress Richarde, his wife. She had to advise Liutward, Bishop of Vercelli. Courtiers, jealous of the authority of the bishop and the confidence that was accorded him by the Empress, long meditated his ruin and found a way to turn the heart of the weak monarch to jealousy which piety, talents, the eminent qualities of his wife, and twenty-five years of constantly happy marriage were powerless to stop. Liutward was expelled from the court and the repudiated Empress retired to the monastery of Andlau. The legend of Saint Richarde was that she suffered the ordeal of fire and, dressed in a shirt coated with wax, was set fire in four places, she was not burned by the flames which were miraculously extinguished. In any case it was in this monastery that the wife of Charles the Fat ended her days in prayer and good works. She also found a source of consolation in letters in which she wrote with great distinction several beautiful poems which have been preserved until now where she writes of her resignation and the purity of her soul. She died before the end of the 9th century and was buried in a side chapel of the Andlau church. A century and a half later she was canonized by Pope Leo IX who was in Alsace, his homeland, and came to bless Andlau's new church built by the Abbess Mathilde, sister of Emperor Henry III.

 

Andlau family

 

The first references to the house of Andlau are in the 12th century which makes this family one of the oldest lines in France. The Andlau line forms 0.5% of the French nobility and their origins date back to the late Middle Ages so are considered old nobility – distinguished nobility or ancient nobility. The nobles of Andlau may have given their name to the town. According to some sources, the Andlau family arrived in Alsace in Roman times with another family: the Dandolo of Venice. This family had founded the castle of Bas-d'Andlau.

 

Another version attributes the creation of the town to a man named Balthasard d'Andolo, a native of Bologna. He would have followed Charlemagne who was heading north in the 8th century. It would then be located in the valley of Eleon and could be the origin of the foundation of the noble lineage of the Andlau family who gave their name to Andlau. Balthasard and his son founded a small monastery in the valley near the Andlau river. This theory would therefore go against the version that it was Sainte Richarde who founded the abbey.

 

Another proposal speaks of a knight of Andlau who helped Richarde to find a location where the bear was scratching the ground. The Andlau family acceded to the status of knights from the 9th century. They gave their name to the town and thus made bequests to the abbey. But one[who?] can also argue that the family took the name of the town which later gave them their coat-of-arms. The first character, Gunther d'Andalau, was cited in 1141 and became abbot of Saint-Blaise. The lords of Andlau won renown during the Battle of Sempach on 9 July 1386, during which the Earl of Andlau lost four of his sons. It was particularly affected by the Thirty Years' War.

 

The Andlau family are related to many characters in the history of France, such as Claude-Adrien Helvetius, Jacques Necker, Germaine de Staël, Jean Le Marois, Hardouin-Gustave Andlau, and Albert de Mun.

 

The village formed around the abbey

 

Gradually a small town formed around the abbey that the abbess gave in fief in 1364 to the Andlau noble family, one of the most illustrious of Alsace, whose history is mentioned for the first time in 1141 when Ganthier Andlau was abbot of Saint-Blaise. Nine years later Othon, Count of Andlau (Otto de Andelaha) appeared as a witness to a diploma from the Emperor Conrad III in favour of the Abbey of Saint-Blaise. This family has produced many distinguished men which proves the high esteem which it enjoyed under an ancient privilege which was renewed by Charles V in 1550: the eldest son bore the title of hereditary knight of the Holy Roman Empire.

 

Andlau as a pilgrimage town

 

A pilgrimage was dedicated early in its history to the Virgin Mary in the crypt of the church where the canons met every day to pray. The 14th century tower which is often confused Spesbourg Castle - is attested to belong to the nobles of Dicka. Between the 13th and 14th centuries four castles were built in Andlau. One of these was the castle of Wibelsberg-Crax of which there are a few remnants. Built between 1232 and 1249 it was first demolished by Eberhard d'Andlau then rebuilt from 1293. It was called Crax Castle but was finally demolished in 1298 by order of the Bishop of Strasbourg. The lords of Andlau fortified the town in the 15th century. In 1695 the Forest Ranger of Andlau, Frantz Ettighoffen, killed one of the last bears in the Vosges Mountains. In the middle of the 19th century Andlau had more than eighteen mills. The town is surrounded by forests and vineyards.

 

(Wikipedia)

 

Andlau est une commune française viticole située dans la circonscription administrative du Bas-Rhin et, depuis le 1er janvier 2021, dans le territoire de la Collectivité européenne d'Alsace, en région Grand Est.

 

Cette commune se trouve dans la région historique et culturelle d'Alsace.

 

Elle est une étape à la fois sur :

 

la Route des vins d'Alsace ;

la Véloroute du vignoble d'Alsace (EuroVelo 5) ;

la partie vosgienne (versant alsacien) du sentier de grande randonnée GR 5 et du sentier européen E2 ;

la partie alsacienne du chemin de Saint-Jacques de Compostelle.

 

Géographie

 

Andlau est une petite ville du Bas-Rhin de l'arrondissement de Sélestat-Erstein et du canton d'Obernai située dans la vallée de l'Andlau sur les contreforts des Vosges. La banlieue d'Andlau est entièrement occupée par les Vosges, dont un sommet, le Stosskopf, y atteint une hauteur de 700 mètres. Ses communes limitrophes sont Mittelbergheim au nord-est, Eichhoffen à l'est, Bernardvillé au sud, le Hohwald au nord-ouest et Barr. La commune possède une superficie de 23,69 km2 dont le point le plus haut culmine à 807 mètres vers la pointe nord du Niederberg.

 

Cours d'eau

 

L'Andlau : petite rivière qui prend sa source dans les Vosges, près du Champ du Feu, montagne située à l'extrémité orientale du Ban de la Roche ; elle coule d'ouest en est, arrose Andlau, Eichhoffen, Saint-Pierre, Stotzheim, Zellwiller, Hindisheim, Lipsheim, Fegersheim et se jette dans l'Ill en aval de cette dernière commune, après avoir reçu en amont de Valff les eaux de la Kirneck et mis en mouvement près de 60 moulins et autres usines vers le xixe siècle. Son cours est d'environ 45 kilomètres.

 

Urbanisme

 

Typologie

 

Andlau est une commune urbaine, car elle fait partie des communes denses ou de densité intermédiaire, au sens de la grille communale de densité de l'Insee. Elle appartient à l'unité urbaine d'Andlau, une agglomération intra-départementale regroupant 3 communes et 2 916 habitants en 2017, dont elle est ville-centre. La commune est en outre hors attraction des villes.

 

Toponymie

 

Andelaha

Andelelaha

Andeloïa

Andeloha, 999

Andelow

Andeloa

Andelow

Andelach, 1126

 

Origine du nom

 

Andlau est une déformation du mot Andelaha en Andelaw ou Andlaw. Le premier mot pourrait provenir du nom primitif de la rivière dont on trouve des traces dans les anciennes cartes établies aux xve et xvie siècles. Cette rivière de 42,8 km coule depuis le Champ du Feu jusqu'à l'Ill et se trouve être à l'origine du nom de la commune. La ville a ensuite pris le nom de la rivière. Le 30 juillet 1857, Andlau s’appelait Andlau-au-Val pour la distinguer de celui de Andelot dans la Haute-Marne. Au début du xxe siècle, le nom redevient Andlau.

 

Histoire

 

Un domaine occupé dès l'époque gallo-romaine

Le village est sans doute déjà occupé à l'époque gallo-romaine. Ensuite, c'est autour de l'abbaye de moniales fondée en 880 par Richarde de Souabe, fille du comte d'Alsace connu sous le nom d'Erchangar, que se développe le village. Sainte Richarde épouse par la suite l'empereur Charles le Gros, petit-fils de Louis le Débonnaire.

Selon la légende, Richarde est accusée d'inconduite par son mari. Afin de démontrer son innocence, elle se soumet à l'épreuve du feu : pieds nus et vêtue d'une chemise enduite de cire, elle traverse les flammes sans la moindre brûlure. Justifiée, mais meurtrie par le vil soupçon, elle quitte son château et s'en va dans la forêt. Un ange lui apparaît et lui enjoint de fonder un monastère à l'endroit que lui indiquera une ourse. À l'entrée du val d'Eléon, sur les bords du torrent, elle aperçoit la bête annoncée qui gratte la terre. C'est donc à cet endroit que s'élèvera l'abbaye d'Andlau. En souvenir de son origine, l'abbaye logera et nourrira gratuitement les montreurs d'ours de passage et entretiendra un ours vivant.

Telle est la légende. En fait, Richarde a déjà fondé Andlau depuis 7 ans quand Charles le Gros la répudie. C'est là qu'elle se retire. Elle est canonisée en 1049 par le pape Léon IX, un Alsacien. Les religieuses d'Andlau, toutes de noble naissance, avaient le droit de quitter le couvent et de se marier. Seule l'abbesse prononçait des vœux définitifs. Elle portait le titre, envié, de princesse du Saint-Empire.

 

La fondation d'une abbaye

 

Cette abbaye fut placée initialement au Saint-Sauveur et suivait la règle de saint Benoît qui reçut la protection du pape. Elle fut autorisée à battre monnaie jusqu'en 1004. Elle fut dotée de biens considérables et reçut par la suite un grand nombre de privilèges. L'empereur Charles IV, en les confirmant en 1347, déclara l'abbaye exempte de toutes charges et contributions et accorda à l'abbesse Adélaïde de Géroldseck et à celles qui lui succédèrent, le titre de princesse de l'Empire. On ne connaît pas précisément l'époque précise de sa sécularisation ; on croit qu'elle eut lieu entre les xiie et xive siècles. Outre la charte de l'empereur Charles IV, un grand nombre d'autres diplômes antérieurs et postérieurs ont été concédés à cette abbaye, soit pour confirmer les privilèges qu'elle avait déjà obtenus, soit pour lui en accorder de nouveaux. Les récipiendaires étaient obligés de faire preuve de seize quartiers de noblesse sans mésalliance, et les familles les plus illustres d'Alsace et d'Allemagne briguaient l'honneur d'y faire admettre leurs filles ; elles n'étaient assujetties à aucun vœu et pouvaient quand bon leur semblait, rentrer dans leurs familles et même se marier.

 

Cette abbaye reçut, presque dès son origine, une illustration qui n'a pas peu contribué à sa prospérité et à sa considération. On sait que l'empereur Charles le Gros, trop faible pour gouverner le vaste empire qu'il avait réuni sous son sceptre par la mort de ses deux frères, en laissa les soins à l'impératrice Richarde, son épouse ; elle avait pour conseiller Liutward, évêque de Verceil. Les courtisans, jaloux de l'autorité de l'évêque et de la confiance que lui accordait l'impératrice, méditaient depuis longtemps sa ruine et trouvèrent le moyen d'allumer dans le cœur du faible monarque une jalousie que la piété, les talents, les éminentes qualités de son épouse et vingt-cinq ans de mariage constamment heureux furent impuissants à écarter. Liutward fut chassé de la cour ; l'impératrice répudiée se retira dans le monastère d'Andlau. La légende de sainte Richarde porte qu'elle subit l'épreuve du feu, et que revêtue d'une chemise enduite de cire, à laquelle ont mis le feu en quatre endroits, elle ne fut point atteinte par les flammes qui s'éteignirent miraculeusement. Quoi qu'il en soit, ce fut dans cette abbaye que l'épouse de Charles-le-Gros finit ses jours dans la prière et les bonnes œuvres. Elle trouva aussi une source de consolations dans les lettres, qu'elle cultivait avec une grande distinction ; plusieurs belles poésies, qui sont parvenues jusqu'à nous, peignent sa résignation et la pureté de son âme. Elle mourut avant la fin du ixe siècle et fut enterrée dans une chapelle latérale de l'église d'Andlau ; un siècle et demi plus tard, elle fut canonisée par le pape Léon IX, qui s'étant trouvé en Alsace, sa patrie, vint à Andlau bénir l'église nouvellement construite sous l'abbesse Mathilde, sœur de l'empereur Henri III.

 

La famille d'Andlau

 

On trouve les premières références à la maison d'Andlau au xiie siècle, ce qui fait de cette famille une des lignées les plus anciennes de France. La ligne d'Andlau fait partie des 0,5 % de la noblesse française dont les origines remontent au bas Moyen Âge ; elle est ainsi considérée comme noblesse d'épée - noblesse de race ou noblesse ancienne . Les nobles d'Andlau ont peut-être donné leur nom à la ville. Selon certaines sources, la famille d'Andlau serait arrivée en Alsace à l'époque romaine avec une autre famille, les Dandolo de Venise. Cette famille aurait fondé le château du Bas-d'Andlau. Une autre version attribue à un dénommé Balthasard d'Andolo natif de Bologne la création de la ville. Il aurait suivi Charlemagne qui se dirigeait vers le nord vers le viiie siècle. Il se serait alors fixé au val d'Eléon et pourrait donc être à l'origine de la fondation de la lignée de la famille noble des Andlau qui a donné le nom à Andlau. Balthasard et son fils auraient fondé un petit couvent dans la vallée, près de la rivière Andlau. Cette théorie irait donc à l'encontre de la version qui veut que ce soit sainte Richarde qui ait fondé l'abbaye. Une autre proposition parle d'un chevalier d'Andlau qui aurait aidé Richarde à trouver l'emplacement où l'ours grattait le sol. La famille des Andlau accédera au statut de chevaliers à partir du ixe siècle. Ils prendront le nom de la cité et feront ainsi des legs à l'abbaye. Mais on peut aussi prétendre que cette famille a pris le nom de la ville, qui par la suite lui a donné ses armoiries. Le premier personnage, Gunther d'Andalau, cité en 1141, devient abbé de Saint-Blaise. Les sires d'Andlau s'illustrent durant la bataille de Sempach, le 9 juillet 1386, durant laquelle le comte d'Andlau perd quatre de ses fils. Elle est particulièrement affectée par la guerre de Trente Ans.

 

La famille d'Andlau est liée à de nombreux personnages de l'histoire de France, comme Claude-Adrien Helvétius, Jacques Necker, Germaine de Staël, Jean Le Marois, Hardouin-Gustave d'Andlau ou encore Albert de Mun.

 

Le village se forme autour de l'abbaye

 

Peu à peu, il se forma aux alentours de l'abbaye une petite ville que l'abbesse donna en fief, en 1364, à la famille noble d'Andlau, une des plus illustres de l'Alsace, dont l'histoire fait mention pour la première fois en 1141 : Ganthier d'Andlau fut abbé de Saint-Blaise. Neuf ans après, Othon, comte d'Andlau (Otto de Andelaha comes) paraît comme témoin dans un diplôme donné par l'empereur Conrad III en faveur de l'abbaye de Saint-Blaise. Cette famille a produit un grand nombre d'hommes distingués, et ce qui prouve la haute considération dont elle jouissait, c'est qu'en vertu d'un antique privilège, renouvelé par Charles Quint, en 1550, l'aîné portait le titre de chevalier héréditaire du Saint-Empire.

 

Andlau une ville de pèlerinage

 

Un pèlerinage fut dédié très tôt à la Vierge Marie dans la crypte de l'église où les chanoinesses se réunissaient chaque jour pour prier. Au xive siècle une tour — souvent confondue avec le château de Spesbourg — est attestée appartenir aux nobles de Dicka. Entre le xiiie et le xive siècle quatre châteaux sont édifiés à Andlau. L'un de ces châteaux est celui du Wibelsberg-Crax dont il ne subsiste que quelques vestiges. Construit entre 1232 et 1249 il est démoli une première fois par Eberhard d'Andlau, puis reconstruit à partir de 1293. Il prend alors le nom de château de Crax, mais est définitivement démoli en 1298 sur ordre de l'évêque de Strasbourg. Les sires d'Andlau fortifient la ville au xve siècle. En 1695 le garde forestier d'Andlau, Frantz Ettighoffen, tue l'un des derniers ours des Vosges. Au milieu du xixe siècle, Andlau compte encore dix-huit moulins. La commune est entourée de forêts et de vignes.

 

(Wikipedia)

 

Andlau ist eine französische Gemeinde mit 1763 Einwohnern (Stand 1. Januar 2020) im Département Bas-Rhin in der Europäischen Gebietskörperschaft Elsass und in der Region Grand Est. Sie gehört zum Arrondissement Sélestat-Erstein und zum Kanton Obernai.

 

Geografie

 

Andlau liegt am Fuß der Vogesen, am westlichen Rand der Oberrheinebene, etwa 14 Kilometer nördlich von Sélestat und 28 Kilometer südwestlich von Straßburg. Das zu neun Zehnteln bewaldete Gemeindegebiet reicht weit nach Westen in die Vogesen hinein. Durch den Ort fließt die Andlau, ein Nebenfluss der Ill.

 

Nachbargemeinden von Andlau sind Barr und Mittelbergheim im Nordosten, Eichhoffen im Osten, Bernardvillé im Süden, Reichsfeld und Albé im Südwesten sowie Le Hohwald im Westen.

 

Geschichte

 

Die Abtei Andlau wurde 880 von der Kaiserin Richardis gegründet. Sie war von ihrem Gatten Kaiser Karl III. verstoßen worden und wurde später heiliggesprochen. Ihr Grab in Andlau wurde zur Wallfahrtsstätte. Der Legende zufolge wurde ihr der geeignete Platz dafür von einer wilden Bärin gezeigt. In der als einem der ältesten Teile der Kirche erhaltenen, zweiräumigen Krypta aus dem Jahre 1045, gegen Osten um 1080 vergrößert, steht eine Bärenskulptur. Die Krypta ist eine der ältesten Wallfahrtsorte zur Jungfrau Maria im Elsass. Hierher kamen Rheumatismus-Geplagte und Fußkranke, um Heilung zu erhalten. Um das Kloster herum entwickelte sich der Ort. Für die weitere Ortsgeschichte war das Adelsgeschlecht Andlau von Bedeutung. Dessen Wappen wurde in umgekehrter Farbstellung zum Gemeindewappen. 1287 wurde das Benediktinerinnenstift reichsunmittelbar und 1499 in ein Damenstift umgewandelt, bevor es in der Französischen Revolution im Jahre 1791 aufgelöst wurde.

 

Von 1871 bis zum Ende des Ersten Weltkrieges gehörte Andlau als Teil des Reichslandes Elsaß-Lothringen zum Deutschen Reich und war dem Kreis Schlettstadt im Bezirk Unterelsaß zugeordnet.

 

Wirtschaft

 

Der Ort lebt überwiegend vom Weinanbau und Weinhandel (siehe auch Weinbaugebiet Elsass). Er liegt an der Elsässer Weinstraße. Auf dem Gemeindegebiet befinden sich die drei Alsace Grand Cru-Lagen Kastelberg, Moenchberg und Wiebelsberg.

 

Gemeindepartnerschaften

 

Seit 1961 ist Andlau mit der deutschen Gemeinde Sexau im südbadischen Landkreis Emmendingen partnerschaftlich verbunden.

 

(Wikipedia)

Monumento a San Martín de Tours in Plaza San Martín de Tours.

 

The bronze sculpture was made by sculptor Ermando Bucci and inaugurated 20 October, 1981.

 

The plaza received its name in 1962 in homage to San Martín de Tours, patron saint of Buenos Aires.

 

ABOUT:

His biography informs us that he was Bishop of Tours, France.

 

We suppose that this is why he should be considered French, since he was actually born in 316 AD in Pannonia, a territory that is part of present-day Hungary, and died in Candes-Saint-Martin, France, 08 November, 397.

 

The Saint is seen in the attitude attributed to him by the well-known and edifying legend, that is, trying to cut off his cloak to give half to an old and terrified beggar who asks for his help.

 

Frankly speaking, he never convinced us much about this story so maybe this part of the legend is pure BS.

Le campus de Jussieu est édifié sur le site de ce qui fut l'abbaye Saint-Victor, fondée en 1113 par le philosophe et théologien Guillaume de Champeaux. Fermée en 1790, détruite en 1811. la faculté fut construite sur l'emplacement de la halle aux vin du Quai Saint-Bernard.

Le campus est inauguré en 1959, mais est le lieu de travaux continus jusqu'en 2016.

Le campus est principalement formé de barres entrecroisées réalisées par l'architecte Édouard Albert (mort en 1968) et continué par Urbain Cassan entre 1964 et 1971, surélevées par rapport à une dalle, elle-même surplombant les rues environnantes. Le « gril » ainsi formé comporte une tour en son centre, la tour Zamansky, et est bordé sur deux côtés de bâtiments plus anciens de 65 000 m2 qui comprend deux bâtiments (barres de Cassan) édifiés par l'architecte Urbain Cassan entre 1958 et 1961, à l'aplomb du quai Saint-Bernard et de la rue Cuvier.

 

The Jussieu campus is built on the site of what was once the Saint-Victor abbey, founded in 1113 by the philosopher and theologian Guillaume de Champeaux. Closed in 1790 and destroyed in 1811, the faculty was built on the site of the wine market on Quai Saint-Bernard.

The campus was inaugurated in 1959, but is the site of continuous works until 2016.

The campus is mainly made up of intersecting bars designed by the architect Édouard Albert (who died in 1968) and continued by Urbain Cassan between 1964 and 1971, raised above a slab, which itself overhangs the surrounding streets. The "grid" thus formed has a tower in its centre, the Zamansky tower, and is bordered on two sides by older buildings of 65,000 m2 which include two buildings (Cassan bars) built by the architect Urbain Cassan between 1958 and 1961, right in front of the Quai Saint-Bernard and the Rue Cuvier

The Perturbed Sanctum

A couple of weeks back, we met a couple in a pub in Canterbury, and they had been out exploring the city and said they were disappointed by the cathedral.

 

Not enough labels they said.

 

That not withstanding, I thought it had been some time since I last had been, so decided to revisit, see the pillars of Reculver church in the crypt and take the big lens for some detail shots.

 

We arrived just after ten, so the cathedral was pretty free of other guests, just a few guides waiting for groups and couples to guide.

 

I went round with the 50mm first, before concentrating on the medieval glass which is mostly on the south side.

 

But as you will see, the lens picked up so much more.

 

Thing is, there is always someone interesting to talk to, or wants to talk to you. As I went around, I spoke with about three guides about the project and things I have seen in the churches of the county, and the wonderful people I have met. And that continued in the cathedral.

 

I have time to look at the tombs in the Trinity Chapel, and see that Henry IV and his wife are in a tomb there, rather than ay Westminster Abbey. So I photograph them, and the Black Prince on the southern side of the chapel, along with the Bishops and Archbishops between.

 

Round to the transept and a chance to change lenses, and put on the 140-400mm for some detailed shots.

 

I go round the cathedral again.

 

Initially at some of the memorials on the walls and the canopy of the pulpit, but it is the windows that are calling.

 

At least it was a bright, sunny day outside, which meant light was good in the cathedral with most shots coming out fine with no camera shake.

 

As I edit the shots I am stunned at the details of windows so high up they mostly seem like blocks of colour.

 

And so far, I have only just started to edit these shots.

 

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St Augustine, the first Archbishop of Canterbury, arrived on the coast of Kent as a missionary to England in 597AD. He came from Rome, sent by Pope Gregory the Great. It is said that Gregory had been struck by the beauty of Angle slaves he saw for sale in the city market and despatched Augustine and some monks to convert them to Christianity. Augustine was given a church at Canterbury (St Martin’s, after St Martin of Tours, still standing today) by the local King, Ethelbert whose Queen, Bertha, a French Princess, was already a Christian.This building had been a place of worship during the Roman occupation of Britain and is the oldest church in England still in use. Augustine had been consecrated a bishop in France and was later made an archbishop by the Pope. He established his seat within the Roman city walls (the word cathedral is derived from the the Latin word for a chair ‘cathedra’, which is itself taken from the Greek ‘kathedra’ meaning seat.) and built the first cathedral there, becoming the first Archbishop of Canterbury. Since that time, there has been a community around the Cathedral offering daily prayer to God; this community is arguably the oldest organisation in the English speaking world. The present Archbishop, The Most Revd Justin Welby, is 105th in the line of succession from Augustine. Until the 10th century, the Cathedral community lived as the household of the Archbishop. During the 10th century, it became a formal community of Benedictine monks, which continued until the monastery was dissolved by King Henry VIII in 1540. Augustine’s original building lies beneath the floor of the Nave – it was extensively rebuilt and enlarged by the Saxons, and the Cathedral was rebuilt completely by the Normans in 1070 following a major fire. There have been many additions to the building over the last nine hundred years, but parts of the Quire and some of the windows and their stained glass date from the 12th century. By 1077, Archbishop Lanfranc had rebuilt it as a Norman church, described as “nearly perfect”. A staircase and parts of the North Wall – in the area of the North West transept also called the Martyrdom – remain from that building.

 

Canterbury’s role as one of the world’s most important pilgrimage centres in Europe is inextricably linked to the murder of its most famous Archbishop, Thomas Becket, in 1170. When, after a long lasting dispute, King Henry II is said to have exclaimed “Who will rid me of this turbulent priest?”, four knights set off for Canterbury and murdered Thomas in his own cathedral. A sword stroke was so violent that it sliced the crown off his skull and shattered the blade’s tip on the pavement. The murder took place in what is now known as The Martyrdom. When shortly afterwards, miracles were said to take place, Canterbury became one of Europe’s most important pilgrimage centres.

 

The work of the Cathedral as a monastery came to an end in 1540, when the monastery was closed on the orders of King Henry VIII. Its role as a place of prayer continued – as it does to this day. Once the monastery had been suppressed, responsibility for the services and upkeep was given to a group of clergy known as the Chapter of Canterbury. Today, the Cathedral is still governed by the Dean and four Canons, together (in recent years) with four lay people and the Archdeacon of Ashford. During the Civil War of the 1640s, the Cathedral suffered damage at the hands of the Puritans; much of the medieval stained glass was smashed and horses were stabled in the Nave. After the Restoration in 1660, several years were spent in repairing the building. In the early 19th Century, the North West tower was found to be dangerous, and, although it dated from Lanfranc’s time, it was demolished in the early 1830s and replaced by a copy of the South West tower, thus giving a symmetrical appearance to the west end of the Cathedral. During the Second World War, the Precincts were heavily damaged by enemy action and the Cathedral’s Library was destroyed. Thankfully, the Cathedral itself was not seriously harmed, due to the bravery of the team of fire watchers, who patrolled the roofs and dealt with the incendiary bombs dropped by enemy bombers. Today, the Cathedral stands as a place where prayer to God has been offered daily for over 1,400 years; nearly 2,000 Services are held each year, as well as countless private prayers from individuals. The Cathedral offers a warm welcome to all visitors – its aim is to show people Jesus, which we do through the splendour of the building as well as the beauty of the worship.

 

www.canterbury-cathedral.org/heritage/history/cathedral-h...

 

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History of the cathedral

THE ORIGIN of a Christian church on the scite of the present cathedral, is supposed to have taken place as early as the Roman empire in Britain, for the use of the antient faithful and believing soldiers of their garrison here; and that Augustine found such a one standing here, adjoining to king Ethelbert's palace, which was included in the king's gift to him.

 

This supposition is founded on the records of the priory of Christ-church, (fn. 1) concurring with the common opinion of almost all our historians, who tell us of a church in Canterbury, which Augustine found standing in the east part of the city, which he had of king Ethelbert's gift, which after his consecration at Arles, in France, he commended by special dedication to the patronage of our blessed Saviour. (fn. 2)

 

According to others, the foundations only of an old church formerly built by the believing Romans, were left here, on which Augustine erected that, which he afterwards dedicated to out Saviour; (fn. 3) and indeed it is not probable that king Ethelbert should have suffered the unsightly ruins of a Christian church, which, being a Pagan, must have been very obnoxious to him, so close to his palace, and supposing these ruins had been here, would he not have suffered them to be repaired, rather than have obliged his Christian queen to travel daily to such a distance as St. Martin's church, or St. Pancrace's chapel, for the performance of her devotions.

 

Some indeed have conjectured that the church found by St. Augustine, in the east part of the city, was that of St.Martin, truly so situated; and urge in favor of it, that there have not been at any time any remains of British or Roman bricks discovered scattered in or about this church of our Saviour, those infallible, as Mr. Somner stiles them, signs of antiquity, and so generally found in buildings, which have been erected on, or close to the spot where more antient ones have stood. But to proceed, king Ethelbert's donation to Augustine was made in the year 596, who immediately afterwards went over to France, and was consecrated a bishop at Arles, and after his return, as soon as he had sufficiently finished a church here, whether built out of ruins or anew, it matters not, he exercised his episcopal function in the dedication of it, says the register of Christ-church, to the honor of Christ our Saviour; whence it afterwards obtained the name of Christ-church. (fn. 4)

 

From the time of Augustine for the space of upwards of three hundred years, there is not found in any printed or manuscript chronicle, the least mention of the fabric of this church, so that it is probable nothing befell it worthy of being recorded; however it should be mentioned, that during that period the revenues of it were much increased, for in the leiger books of it there are registered more than fifty donations of manors, lands, &c. so large and bountiful, as became the munificence of kings and nobles to confer. (fn. 5)

 

It is supposed, especially as we find no mention made of any thing to the contrary, that the fabric of this church for two hundred years after Augustine's time, met with no considerable molestations; but afterwards, the frequent invasions of the Danes involved both the civil and ecclesiastical state of this country in continual troubles and dangers; in the confusion of which, this church appears to have run into a state of decay; for when Odo was promoted to the archbishopric, in the year 938, the roof of it was in a ruinous condition; age had impaired it, and neglect had made it extremely dangerous; the walls of it were of an uneven height, according as it had been more or less decayed, and the roof of the church seemed ready to fall down on the heads of those underneath. All this the archbishop undertook to repair, and then covered the whole church with lead; to finish which, it took three years, as Osbern tells us, in the life of Odo; (fn. 6) and further, that there was not to be found a church of so large a size, capable of containing so great a multitude of people, and thus, perhaps, it continued without any material change happening to it, till the year 1011; a dismal and fatal year to this church and city; a time of unspeakable confusion and calamities; for in the month of September that year, the Danes, after a siege of twenty days, entered this city by force, burnt the houses, made a lamentable slaughter of the inhabitants, rifled this church, and then set it on fire, insomuch, that the lead with which archbishop Odo had covered it, being melted, ran down on those who were underneath. The sull story of this calamity is given by Osbern, in the life of archbishop Odo, an abridgement of which the reader will find below. (fn. 7)

 

The church now lay in ruins, without a roof, the bare walls only standing, and in this desolate condition it remained as long as the fury of the Danes prevailed, who after they had burnt the church, carried away archbishop Alphage with them, kept him in prison seven months, and then put him to death, in the year 1012, the year after which Living, or Livingus, succeeded him as archbishop, though it was rather in his calamities than in his seat of dignity, for he too was chained up by the Danes in a loathsome dungeon for seven months, before he was set free, but he so sensibly felt the deplorable state of this country, which he foresaw was every day growing worse and worse, that by a voluntary exile, he withdrew himself out of the nation, to find some solitary retirement, where he might bewail those desolations of his country, to which he was not able to bring any relief, but by his continual prayers. (fn. 8) He just outlived this storm, returned into England, and before he died saw peace and quientness restored to this land by king Canute, who gaining to himself the sole sovereignty over the nation, made it his first business to repair the injuries which had been done to the churches and monasteries in this kingdom, by his father's and his own wars. (fn. 9)

 

As for this church, archbishop Ægelnoth, who presided over it from the year 1020 to the year 1038, began and finished the repair, or rather the rebuilding of it, assisted in it by the royal munificence of the king, (fn. 10) who in 1023 presented his crown of gold to this church, and restored to it the port of Sandwich, with its liberties. (fn. 11) Notwithstanding this, in less than forty years afterwards, when Lanfranc soon after the Norman conquest came to the see, he found this church reduced almost to nothing by fire, and dilapidations; for Eadmer says, it had been consumed by a third conflagration, prior to the year of his advancement to it, in which fire almost all the antient records of the privileges of it had perished. (fn. 12)

 

The same writer has given us a description of this old church, as it was before Lanfranc came to the see; by which we learn, that at the east end there was an altar adjoining to the wall of the church, of rough unhewn stone, cemented with mortar, erected by archbishop Odo, for a repository of the body of Wilfrid, archbishop of York, which Odo had translated from Rippon hither, giving it here the highest place; at a convenient distance from this, westward, there was another altar, dedicated to Christ our Saviour, at which divine service was daily celebrated. In this altar was inclosed the head of St. Swithin, with many other relics, which archbishop Alphage brought with him from Winchester. Passing from this altar westward, many steps led down to the choir and nave, which were both even, or upon the same level. At the bottom of the steps, there was a passage into the undercroft, under all the east part of the church. (fn. 13) At the east end of which, was an altar, in which was inclosed, according to old tradition, the head of St. Furseus. From hence by a winding passage, at the west end of it, was the tomb of St. Dunstan, (fn. 14) but separated from the undercroft by a strong stone wall; over the tomb was erected a monument, pyramid wife, and at the head of it an altar, (fn. 15) for the mattin service. Between these steps, or passage into the undercroft and the nave, was the choir, (fn. 16) which was separated from the nave by a fair and decent partition, to keep off the crowds of people that usually were in the body of the church, so that the singing of the chanters in the choir might not be disturbed. About the middle of the length of the nave, were two towers or steeples, built without the walls; one on the south, and the other on the north side. In the former was the altar of St. Gregory, where was an entrance into the church by the south door, and where law controversies and pleas concerning secular matters were exercised. (fn. 17) In the latter, or north tower, was a passage for the monks into the church, from the monastery; here were the cloysters, where the novices were instructed in their religious rules and offices, and where the monks conversed together. In this tower was the altar of St. Martin. At the west end of the church was a chapel, dedicated to the blessed Virgin Mary, to which there was an ascent by steps, and at the east end of it an altar, dedicated to her, in which was inclosed the head of St. Astroburta the Virgin; and at the western part of it was the archbishop's pontifical chair, made of large stones, compacted together with mortar; a fair piece of work, and placed at a convenient distance from the altar, close to the wall of the church. (fn. 18)

 

To return now to archbishop Lanfranc, who was sent for from Normandy in 1073, being the fourth year of the Conqueror's reign, to fill this see, a time, when a man of a noble spirit, equal to the laborious task he was to undertake, was wanting especially for this church; and that he was such, the several great works which were performed by him, were incontestable proofs, as well as of his great and generous mind. At the first sight of the ruinous condition of this church, says the historian, the archbishop was struck with astonishment, and almost despaired of seeing that and the monastery re edified; but his care and perseverance raised both in all its parts anew, and that in a novel and more magnificent kind and form of structure, than had been hardly in any place before made use of in this kingdom, which made it a precedent and pattern to succeeding structures of this kind; (fn. 19) and new monasteries and churches were built after the example of it; for it should be observed, that before the coming of the Normans most of the churches and monasteries in this kingdom were of wood; (all the monasteries in my realm, says king Edgar, in his charter to the abbey of Malmesbury, dated anno 974, to the outward sight are nothing but worm-eaten and rotten timber and boards) but after the Norman conquest, such timber fabrics grew out of use, and gave place to stone buildings raised upon arches; a form of structure introduced into general use by that nation, and in these parts surnished with stone from Caen, in Normandy. (fn. 20) After this fashion archbishop Lanfranc rebuilt the whole church from the foundation, with the palace and monastery, the wall which encompassed the court, and all the offices belonging to the monastery within the wall, finishing the whole nearly within the compass of seven years; (fn. 21) besides which, he furnished the church with ornaments and rich vestments; after which, the whole being perfected, he altered the name of it, by a dedication of it to the Holy Trinity; whereas, before it was called the church of our Saviour, or Christ-church, and from the above time it bore (as by Domesday book appears) the name of the church of the Holy Trinity; this new church being built on the same spot on which the antient one stood, though on a far different model.

 

After Lanfranc's death, archbishop Anselm succeeded in the year 1093, to the see of Canterbury, and must be esteemed a principal benefactor to this church; for though his time was perplexed with a continued series of troubles, of which both banishment and poverty made no small part, which in a great measure prevented him from bestowing that cost on his church, which he would otherwise have done, yet it was through his patronage and protection, and through his care and persuasions, that the fabric of it, begun and perfected by his predecessor, became enlarged and rose to still greater splendor. (fn. 22)

 

In order to carry this forward, upon the vacancy of the priory, he constituted Ernulph and Conrad, the first in 1104, the latter in 1108, priors of this church; to whose care, being men of generous and noble minds, and of singular skill in these matters, he, during his troubles, not only committed the management of this work, but of all his other concerns during his absence.

 

Probably archbishop Anselm, on being recalled from banishment on king Henry's accession to the throne, had pulled down that part of the church built by Lanfranc, from the great tower in the middle of it to the east end, intending to rebuild it upon a still larger and more magnificent plan; when being borne down by the king's displeasure, he intrusted prior Ernulph with the work, who raised up the building with such splendor, says Malmesbury, that the like was not to be seen in all England; (fn. 23) but the short time Ernulph continued in this office did not permit him to see his undertaking finished. (fn. 24) This was left to his successor Conrad, who, as the obituary of Christ church informs us, by his great industry, magnificently perfected the choir, which his predecessor had left unfinished, (fn. 25) adorning it with curious pictures, and enriching it with many precious ornaments. (fn. 26)

 

This great undertaking was not entirely compleated at the death of archbishop Anselm, which happened in 1109, anno 9 Henry I. nor indeed for the space of five years afterwards, during which the see of Canterbury continued vacant; when being finished, in honour of its builder, and on account of its more than ordinary beauty, it gained the name of the glorious choir of Conrad. (fn. 27)

 

After the see of Canterbury had continued thus vacant for five years, Ralph, or as some call him, Rodulph, bishop of Rochester, was translated to it in the year 1114, at whose coming to it, the church was dedicated anew to the Holy Trinity, the name which had been before given to it by Lanfranc. (fn. 28) The only particular description we have of this church when thus finished, is from Gervas, the monk of this monastery, and that proves imperfect, as to the choir of Lanfranc, which had been taken down soon after his death; (fn. 29) the following is his account of the nave, or western part of it below the choir, being that which had been erected by archbishop Lanfranc, as has been before mentioned. From him we learn, that the west end, where the chapel of the Virgin Mary stood before, was now adorned with two stately towers, on the top of which were gilded pinnacles. The nave or body was supported by eight pair of pillars. At the east end of the nave, on the north side, was an oratory, dedicated in honor to the blessed Virgin, in lieu, I suppose, of the chapel, that had in the former church been dedicated to her at the west end. Between the nave and the choir there was built a great tower or steeple, as it were in the centre of the whole fabric; (fn. 30) under this tower was erected the altar of the Holy Cross; over a partition, which separated this tower from the nave, a beam was laid across from one side to the other of the church; upon the middle of this beam was fixed a great cross, between the images of the Virgin Mary and St. John, and between two cherubims. The pinnacle on the top of this tower, was a gilded cherub, and hence it was called the angel steeple; a name it is frequently called by at this day. (fn. 31)

 

This great tower had on each side a cross isle, called the north and south wings, which were uniform, of the same model and dimensions; each of them had a strong pillar in the middle for a support to the roof, and each of them had two doors or passages, by which an entrance was open to the east parts of the church. At one of these doors there was a descent by a few steps into the undercroft; at the other, there was an ascent by many steps into the upper parts of the church, that is, the choir, and the isles on each side of it. Near every one of these doors or passages, an altar was erected; at the upper door in the south wing, there was an altar in honour of All Saints; and at the lower door there was one of St. Michael; and before this altar on the south side was buried archbishop Fleologild; and on the north side, the holy Virgin Siburgis, whom St. Dunstan highly admired for her sanctity. In the north isle, by the upper door, was the altar of St. Blaze; and by the lower door, that of St. Benedict. In this wing had been interred four archbishops, Adelm and Ceolnoth, behind the altar, and Egelnoth and Wlfelm before it. At the entrance into this wing, Rodulph and his successor William Corboil, both archbishops, were buried. (fn. 32)

 

Hence, he continues, we go up by some steps into the great tower, and before us there is a door and steps leading down into the south wing, and on the right hand a pair of folding doors, with stairs going down into the nave of the church; but without turning to any of these, let us ascend eastward, till by several more steps we come to the west end of Conrad's choir; being now at the entrance of the choir, Gervas tells us, that he neither saw the choir built by Lanfranc, nor found it described by any one; that Eadmer had made mention of it, without giving any account of it, as he had done of the old church, the reason of which appears to be, that Lanfranc's choir did not long survive its founder, being pulled down as before-mentioned, by archbishop Anselm; so that it could not stand more than twenty years; therefore the want of a particular description of it will appear no great defect in the history of this church, especially as the deficiency is here supplied by Gervas's full relation of the new choir of Conrad, built instead of it; of which, whoever desires to know the whole architecture and model observed in the fabric, the order, number, height and form of the pillars and windows, may know the whole of it from him. The roof of it, he tells us, (fn. 33) was beautified with curious paintings representing heaven; (fn. 34) in several respects it was agreeable to the present choir, the stalls were large and framed of carved wood. In the middle of it, there hung a gilded crown, on which were placed four and twenty tapers of wax. From the choir an ascent of three steps led to the presbiterium, or place for the presbiters; here, he says, it would be proper to stop a little and take notice of the high altar, which was dedicated to the name of CHRIST. It was placed between two other altars, the one of St. Dunstan, the other of St. Alphage; at the east corners of the high altar were fixed two pillars of wood, beautified with silver and gold; upon these pillars was placed a beam, adorned with gold, which reached across the church, upon it there were placed the glory, (fn. 35) the images of St. Dunstan and St. Alphage, and seven chests or coffers overlaid with gold, full of the relics of many saints. Between those pillars was a cross gilded all over, and upon the upper beam of the cross were set sixty bright crystals.

 

Beyond this, by an ascent of eight steps towards the east, behind the altar, was the archiepiscopal throne, which Gervas calls the patriarchal chair, made of one stone; in this chair, according to the custom of the church, the archbishop used to sit, upon principal festivals, in his pontifical ornaments, whilst the solemn offices of religion were celebrated, until the consecration of the host, when he came down to the high altar, and there performed the solemnity of consecration. Still further, eastward, behind the patriarchal chair, (fn. 36) was a chapel in the front of the whole church, in which was an altar, dedicated to the Holy Trinity; behind which were laid the bones of two archbishops, Odo of Canterbury, and Wilfrid of York; by this chapel on the south side near the wall of the church, was laid the body of archbishop Lanfranc, and on the north side, the body of archbishop Theobald. Here it is to be observed, that under the whole east part of the church, from the angel steeple, there was an undercrost or crypt, (fn. 37) in which were several altars, chapels and sepulchres; under the chapel of the Trinity before-mentioned, were two altars, on the south side, the altar of St. Augustine, the apostle of the English nation, by which archbishop Athelred was interred. On the north side was the altar of St. John Baptist, by which was laid the body of archbishop Eadsin; under the high altar was the chapel and altar of the blessed Virgin Mary, to whom the whole undercroft was dedicated.

 

To return now, he continues, to the place where the bresbyterium and choir meet, where on each side there was a cross isle (as was to be seen in his time) which might be called the upper south and north wings; on the east side of each of these wings were two half circular recesses or nooks in the wall, arched over after the form of porticoes. Each of them had an altar, and there was the like number of altars under them in the crost. In the north wing, the north portico had the altar of St. Martin, by which were interred the bodies of two archbishops, Wlfred on the right, and Living on the left hand; under it in the croft, was the altar of St. Mary Magdalen. The other portico in this wing, had the altar of St. Stephen, and by it were buried two archbishops, Athelard on the left hand, and Cuthbert on the right; in the croft under it, was the altar of St. Nicholas. In the south wing, the north portico had the altar of St. John the Evangelist, and by it the bodies of Æthelgar and Aluric, archbishops, were laid. In the croft under it was the altar of St. Paulinus, by which the body of archbishop Siricius was interred. In the south portico was the altar of St. Gregory, by which were laid the corps of the two archbishops Bregwin and Plegmund. In the croft under it was the altar of St. Owen, archbishop of Roan, and underneath in the croft, not far from it the altar of St. Catherine.

 

Passing from these cross isles eastward there were two towers, one on the north, the other on the south side of the church. In the tower on the north side was the altar of St. Andrew, which gave name to the tower; under it, in the croft, was the altar of the Holy Innocents; the tower on the south side had the altar of St. Peter and St. Paul, behind which the body of St. Anselm was interred, which afterwards gave name both to the altar and tower (fn. 38) (now called St. Anselm's). The wings or isles on each side of the choir had nothing in particular to be taken notice of.— Thus far Gervas, from whose description we in particular learn, where several of the bodies of the old archbishops were deposited, and probably the ashes of some of them remain in the same places to this day.

 

As this building, deservedly called the glorious choir of Conrad, was a magnificent work, so the undertaking of it at that time will appear almost beyond example, especially when the several circumstances of it are considered; but that it was carried forward at the archbishop's cost, exceeds all belief. It was in the discouraging reign of king William Rufus, a prince notorious in the records of history, for all manner of sacrilegious rapine, that archbishop Anselm was promoted to this see; when he found the lands and revenues of this church so miserably wasted and spoiled, that there was hardly enough left for his bare subsistence; who, in the first years that he sat in the archiepiscopal chair, struggled with poverty, wants and continual vexations through the king's displeasure, (fn. 39) and whose three next years were spent in banishment, during all which time he borrowed money for his present maintenance; who being called home by king Henry I. at his coming to the crown, laboured to pay the debts he had contracted during the time of his banishment, and instead of enjoying that tranquility and ease he hoped for, was, within two years afterwards, again sent into banishment upon a fresh displeasure conceived against him by the king, who then seized upon all the revenues of the archbishopric, (fn. 40) which he retained in his own hands for no less than four years.

 

Under these hard circumstances, it would have been surprizing indeed, that the archbishop should have been able to carry on so great a work, and yet we are told it, as a truth, by the testimonies of history; but this must surely be understood with the interpretation of his having been the patron, protector and encourager, rather than the builder of this work, which he entrusted to the care and management of the priors Ernulph and Conrad, and sanctioned their employing, as Lanfranc had done before, the revenues and stock of the church to this use. (fn. 41)

 

In this state as above-mentioned, without any thing material happening to it, this church continued till about the year 1130, anno 30 Henry I. when it seems to have suffered some damage by a fire; (fn. 42) but how much, there is no record left to inform us; however it could not be of any great account, for it was sufficiently repaired, and that mostly at the cost of archbishop Corboil, who then sat in the chair of this see, (fn. 43) before the 4th of May that year, on which day, being Rogation Sunday, the bishops performed the dedication of it with great splendor and magnificence, such, says Gervas, col. 1664, as had not been heard of since the dedication of the temple of Solomon; the king, the queen, David, king of Scots, all the archbishops, and the nobility of both kingdoms being present at it, when this church's former name was restored again, being henceforward commonly called Christ-church. (fn. 44)

 

Among the manuscripts of Trinity college library, in Cambridge, in a very curious triple psalter of St. Jerome, in Latin, written by the monk Eadwyn, whose picture is at the beginning of it, is a plan or drawing made by him, being an attempt towards a representation of this church and monastery, as they stood between the years 1130 and 1174; which makes it probable, that he was one of the monks of it, and the more so, as the drawing has not any kind of relation to the plalter or sacred hymns contained in the manuscript.

 

His plan, if so it may be called, for it is neither such, nor an upright, nor a prospect, and yet something of all together; but notwithstanding this rudeness of the draftsman, it shews very plain that it was intended for this church and priory, and gives us a very clear knowledge, more than we have been able to learn from any description we have besides, of what both were at the above period of time. (fn. 45)

 

Forty-four years after this dedication, on the 5th of September, anno 1174, being the 20th year of king Henry II.'s reign, a fire happened, which consumed great part of this stately edifice, namely, the whole choir, from the angel steeple to the east end of the church, together with the prior's lodgings, the chapel of the Virgin Mary, the infirmary, and some other offices belonging to the monastery; but the angel steeple, the lower cross isles, and the nave appear to have received no material injury from the flames. (fn. 46) The narrative of this accident is told by Gervas, the monk of Canterbury, so often quoted before, who was an eye witness of this calamity, as follows:

 

Three small houses in the city near the old gate of the monastery took fire by accident, a strong south wind carried the flakes of fire to the top of the church, and lodged them between the joints of the lead, driving them to the timbers under it; this kindled a fire there, which was not discerned till the melted lead gave a free passage for the flames to appear above the church, and the wind gaining by this means a further power of increasing them, drove them inwardly, insomuch that the danger became immediately past all possibility of relief. The timber of the roof being all of it on fire, fell down into the choir, where the stalls of the manks, made of large pieces of carved wood, afforded plenty of fuel to the flames, and great part of the stone work, through the vehement heat of the fire, was so weakened, as to be brought to irreparable ruin, and besides the fabric itself, the many rich ornaments in the church were devoured by the flames.

 

The choir being thus laid in ashes, the monks removed from amidst the ruins, the bodies of the two saints, whom they called patrons of the church, the archbishops Dunstan and Alphage, and deposited them by the altar of the great cross, in the nave of the church; (fn. 47) and from this time they celebrated the daily religious offices in the oratory of the blessed Virgin Mary in the nave, and continued to do so for more than five years, when the choir being re edified, they returned to it again. (fn. 48)

 

Upon this destruction of the church, the prior and convent, without any delay, consulted on the most speedy and effectual method of rebuilding it, resolving to finish it in such a manner, as should surpass all the former choirs of it, as well in beauty as size and magnificence. To effect this, they sent for the most skilful architects that could be found either in France or England. These surveyed the walls and pillars, which remained standing, but they found great part of them so weakened by the fire, that they could no ways be built upon with any safety; and it was accordingly resolved, that such of them should be taken down; a whole year was spent in doing this, and in providing materials for the new building, for which they sent abroad for the best stone that could be procured; Gervas has given a large account, (fn. 49) how far this work advanced year by year; what methods and rules of architecture were observed, and other particulars relating to the rebuilding of this church; all which the curious reader may consult at his leisure; it will be sufficient to observe here, that the new building was larger in height and length, and more beautiful in every respect, than the choir of Conrad; for the roof was considerably advanced above what it was before, and was arched over with stone; whereas before it was composed of timber and boards. The capitals of the pillars were now beautified with different sculptures of carvework; whereas, they were before plain, and six pillars more were added than there were before. The former choir had but one triforium, or inner gallery, but now there were two made round it, and one in each side isle and three in the cross isles; before, there were no marble pillars, but such were now added to it in abundance. In forwarding this great work, the monks had spent eight years, when they could proceed no further for want of money; but a fresh supply coming in from the offerings at St. Thomas's tomb, so much more than was necessary for perfecting the repair they were engaged in, as encouraged them to set about a more grand design, which was to pull down the eastern extremity of the church, with the small chapel of the Holy Trinity adjoining to it, and to erect upon a stately undercroft, a most magnificent one instead of it, equally lofty with the roof of the church, and making a part of it, which the former one did not, except by a door into it; but this new chapel, which was dedicated likewise to the Holy Trinity, was not finished till some time after the rest of the church; at the east end of this chapel another handsome one, though small, was afterwards erected at the extremity of the whole building, since called Becket's crown, on purpose for an altar and the reception of some part of his relics; (fn. 50) further mention of which will be made hereafter.

 

The eastern parts of this church, as Mr. Gostling observes, have the appearance of much greater antiquity than what is generally allowed to them; and indeed if we examine the outside walls and the cross wings on each side of the choir, it will appear, that the whole of them was not rebuilt at the time the choir was, and that great part of them was suffered to remain, though altered, added to, and adapted as far as could be, to the new building erected at that time; the traces of several circular windows and other openings, which were then stopped up, removed, or altered, still appearing on the walls both of the isles and the cross wings, through the white-wash with which they are covered; and on the south side of the south isle, the vaulting of the roof as well as the triforium, which could not be contrived so as to be adjusted to the places of the upper windows, plainly shew it. To which may be added, that the base or foot of one of the westernmost large pillars of the choir on the north side, is strengthened with a strong iron band round it, by which it should seem to have been one of those pillars which had been weakened by the fire, but was judged of sufficient firmness, with this precaution, to remain for the use of the new fabric.

 

The outside of this part of the church is a corroborating proof of what has been mentioned above, as well in the method, as in the ornaments of the building.— The outside of it towards the south, from St. Michael's chapel eastward, is adorned with a range of small pillars, about six inches diameter, and about three feet high, some with santastic shasts and capitals, others with plain ones; these support little arches, which intersect each other; and this chain or girdle of pillars is continued round the small tower, the eastern cross isle and the chapel of St. Anselm, to the buildings added in honour of the Holy Trinity, and St. Thomas Becket, where they leave off. The casing of St. Michael's chapel has none of them, but the chapel of the Virgin Mary, answering to it on the north side of the church, not being fitted to the wall, shews some of them behind it; which seems as if they had been continued before, quite round the eastern parts of the church.

 

These pillars, which rise from about the level of the pavement, within the walls above them, are remarkably plain and bare of ornaments; but the tower above mentioned and its opposite, as soon as they rise clear of the building, are enriched with stories of this colonade, one above another, up to the platform from whence their spires rise; and the remains of the two larger towers eastward, called St. Anselm's, and that answering to it on the north side of the church, called St. Andrew's are decorated much after the same manner, as high as they remain at present.

 

At the time of the before-mentioned fire, which so fatally destroyed the upper part of this church, the undercrost, with the vaulting over it, seems to have remained entire, and unhurt by it.

 

The vaulting of the undercrost, on which the floor of the choir and eastern parts of the church is raised, is supported by pillars, whose capitals are as various and fantastical as those of the smaller ones described before, and so are their shafts, some being round, others canted, twisted, or carved, so that hardly any two of them are alike, except such as are quite plain.

 

These, I suppose, may be concluded to be of the same age, and if buildings in the same stile may be conjectured to be so from thence, the antiquity of this part of the church may be judged, though historians have left us in the dark in relation to it.

 

In Leland's Collectanea, there is an account and description of a vault under the chancel of the antient church of St. Peter, in Oxford, called Grymbald's crypt, being allowed by all, to have been built by him; (fn. 51) Grymbald was one of those great and accomplished men, whom king Alfred invited into England about the year 885, to assist him in restoring Christianity, learning and the liberal arts. (fn. 52) Those who compare the vaults or undercrost of the church of Canterbury, with the description and prints given of Grymbald's crypt, (fn. 53) will easily perceive, that two buildings could hardly have been erected more strongly resembling each other, except that this at Canterbury is larger, and more pro fusely decorated with variety of fancied ornaments, the shafts of several of the pillars here being twisted, or otherwise varied, and many of the captials exactly in the same grotesque taste as those in Grymbald's crypt. (fn. 54) Hence it may be supposed, that those whom archbishop Lanfranc employed as architects and designers of his building at Canterbury, took their model of it, at least of this part of it, from that crypt, and this undercrost now remaining is the same, as was originally built by him, as far eastward, as to that part which begins under the chapel of the Holy Trinity, where it appears to be of a later date, erected at the same time as the chapel. The part built by Lanfranc continues at this time as firm and entire, as it was at the very building of it, though upwards of seven hundred years old. (fn. 55)

 

But to return to the new building; though the church was not compleatly finished till the end of the year 1184, yet it was so far advanced towards it, that, in 1180, on April 19, being Easter eve, (fn. 56) the archbishop, prior and monks entered the new choir, with a solemn procession, singing Te Deum, for their happy return to it. Three days before which they had privately, by night, carried the bodies of St. Dunstan and St. Alphage to the places prepared for them near the high altar. The body likewise of queen Edive (which after the fire had been removed from the north cross isle, where it lay before, under a stately gilded shrine) to the altar of the great cross, was taken up, carried into the vestry, and thence to the altar of St. Martin, where it was placed under the coffin of archbishop Livinge. In the month of July following the altar of the Holy Trinity was demolished, and the bodies of those archbishops, which had been laid in that part of the church, were removed to other places. Odo's body was laid under St. Dunstan's and Wilfrid's under St. Alphage's; Lanfranc's was deposited nigh the altar of St. Martin, and Theobald's at that of the blessed Virgin, in the nave of the church, (fn. 57) under a marble tomb; and soon afterwards the two archbishops, on the right and left hand of archbishop Becket in the undercrost, were taken up and placed under the altar of St. Mary there. (fn. 58)

 

After a warning so terrible, as had lately been given, it seemed most necessary to provide against the danger of fire for the time to come; the flames, which had so lately destroyed a considerable part of the church and monastery, were caused by some small houses, which had taken fire at a small distance from the church.— There still remained some other houses near it, which belonged to the abbot and convent of St. Augustine; for these the monks of Christ-church created, by an exchange, which could not be effected till the king interposed, and by his royal authority, in a manner, compelled the abbot and convent to a composition for this purpose, which was dated in the year 1177, that was three years after the late fire of this church. (fn. 59)

 

These houses were immediately pulled down, and it proved a providential and an effectual means of preserving the church from the like calamity; for in the year 1180, on May 22, this new choir, being not then compleated, though it had been used the month be fore, as has been already mentioned, there happened a fire in the city, which burnt down many houses, and the flames bent their course towards the church, which was again in great danger; but the houses near it being taken away, the fire was stopped, and the church escaped being burnt again. (fn. 60)

 

Although there is no mention of a new dedication of the church at this time, yet the change made in the name of it has been thought by some to imply a formal solemnity of this kind, as it appears to have been from henceforth usually called the church of St. Thomas the Martyr, and to have continued so for above 350 years afterwards.

 

New names to churches, it is true. have been usually attended by formal consecrations of them; and had there been any such solemnity here, undoubtedly the same would not have passed by unnoticed by every historian, the circumstance of it must have been notorious, and the magnificence equal at least to the other dedications of this church, which have been constantly mentioned by them; but here was no need of any such ceremony, for although the general voice then burst forth to honour this church with the name of St. Thomas, the universal object of praise and adoration, then stiled the glorious martyr, yet it reached no further, for the name it had received at the former dedication, notwithstanding this common appellation of it, still remained in reality, and it still retained invariably in all records and writings, the name of Christ church only, as appears by many such remaining among the archives of the dean and chapter; and though on the seal of this church, which was changed about this time; the counter side of it had a representation of Becket's martyrdom, yet on the front of it was continued that of the church, and round it an inscription with the former name of Christ church; which seal remained in force till the dissolution of the priory.

 

It may not be improper to mention here some transactions, worthy of observation, relating to this favorite saint, which passed from the time of his being murdered, to that of his translation to the splendid shrine prepared for his relics.

 

Archbishop Thomas Becket was barbarously murdered in this church on Dec. 29, 1170, being the 16th year of king Henry II. and his body was privately buried towards the east end of the undercrost. The monks tell us, that about the Easter following, miracles began to be wrought by him, first at his tomb, then in the undercrost, and in every part of the whole fabric of the church; afterwards throughout England, and lastly, throughout the rest of the world. (fn. 61) The same of these miracles procured him the honour of a formal canonization from pope Alexander III. whose bull for that purpose is dated March 13, in the year 1172. (fn. 62) This declaration of the pope was soon known in all places, and the reports of his miracles were every where sounded abroad. (fn. 63)

 

Hereupon crowds of zealots, led on by a phrenzy of devotion, hastened to kneel at his tomb. In 1177, Philip, earl of Flanders, came hither for that purpose, when king Henry met and had a conference with him at Canterbury. (fn. 64) In June 1178, king Henry returning from Normandy, visited the sepulchre of this new saint; and in July following, William, archbishop of Rhemes, came from France, with a large retinue, to perform his vows to St. Thomas of Canterbury, where the king met him and received him honourably. In the year 1179, Lewis, king of France, came into England; before which neither he nor any of his predecessors had ever set foot in this kingdom. (fn. 65) He landed at Dover, where king Henry waited his arrival, and on August 23, the two kings came to Canterbury, with a great train of nobility of both nations, and were received with due honour and great joy, by the archbishop, with his com-provincial bishops, and the prior and the whole convent. (fn. 66)

 

King Lewis came in the manner and habit of a pilgrim, and was conducted to the tomb of St. Thomas by a solemn procession; he there offered his cup of gold and a royal precious stone, (fn. 67) and gave the convent a yearly rent for ever, of a hundred muids of wine, to be paid by himself and his successors; which grant was confirmed by his royal charter, under his seal, and delivered next day to the convent; (fn. 68) after he had staid here two, (fn. 69) or as others say, three days, (fn. 70) during which the oblations of gold and silver made were so great, that the relation of them almost exceeded credibility. (fn. 71) In 1181, king Henry, in his return from Normandy, again paid his devotions at this tomb. These visits were the early fruits of the adoration of the new sainted martyr, and these royal examples of kings and great persons were followed by multitudes, who crowded to present with full hands their oblations at his tomb.— Hence the convent was enabled to carry forward the building of the new choir, and they applied all this vast income to the fabric of the church, as the present case instantly required, for which they had the leave and consent of the archbishop, confirmed by the bulls of several succeeding popes. (fn. 72)

 

¶From the liberal oblations of these royal and noble personages at the tomb of St. Thomas, the expences of rebuilding the choir appear to have been in a great measure supplied, nor did their devotion and offerings to the new saint, after it was compleated, any ways abate, but, on the contrary, they daily increased; for in the year 1184, Philip, archbishop of Cologne, and Philip, earl of Flanders, came together to pay their vows at this tomb, and were met here by king Henry, who gave them an invitation to London. (fn. 73) In 1194, John, archbishop of Lions; in the year afterwards, John, archbishop of York; and in the year 1199, king John, performed their devotions at the foot of this tomb. (fn. 74) King Richard I. likewise, on his release from captivity in Germany, landing on the 30th of March at Sandwich, proceeded from thence, as an humble stranger on foot, towards Canterbury, to return his grateful thanks to God and St. Thomas for his release. (fn. 75) All these by name, with many nobles and multitudes of others, of all sorts and descriptions, visited the saint with humble adoration and rich oblations, whilst his body lay in the undercrost. In the mean time the chapel and altar at the upper part of the east end of the church, which had been formerly consecrated to the Holy Trinity, were demolished, and again prepared with great splendor, for the reception of this saint, who being now placed there, implanted his name not only on the chapel and altar, but on the whole church, which was from thenceforth known only by that of the church of St. Thomas the martyr.

  

On July 7, anno 1220, the remains of St. Thomas were translated from his tomb to his new shrine, with the greatest solemnity and rejoicings. Pandulph, the pope's legate, the archbishops of Canterbury and Rheims, and many bishops and abbots, carried the coffin on their shoulders, and placed it on the new shrine, and the king graced these solemnities with his royal presence. (fn. 76) The archbishop of Canterbury provided forage along all the road, between London and Canterbury, for the horses of all such as should come to them, and he caused several pipes and conduits to run with wine in different parts of the city. This, with the other expences arising during the time, was so great, that he left a debt on the see, which archbishop Boniface, his fourth successor in it, was hardly enabled to discharge.

 

¶The saint being now placed in his new repository, became the vain object of adoration to the deluded people, and afterwards numbers of licences were granted to strangers by the king, to visit this shrine. (fn. 77) The titles of glorious, of saint and martyr, were among those given to him; (fn. 78) such veneration had all people for his relics, that the religious of several cathedral churches and monasteries, used all their endeavours to obtain some of them, and thought themselves happy and rich in the possession of the smallest portion of them. (fn. 79) Besides this, there were erected and dedicated to his honour, many churches, chapels, altars and hospitals in different places, both in this kingdom and abroad. (fn. 80) Thus this saint, even whilst he lay in his obscure tomb in the undercroft, brought such large and constant supplies of money, as enabled the monks to finish this beautiful choir, and the eastern parts of the church; and when he was translated to the most exalted and honourable place in it, a still larger abundance of gain filled their coffers, which continued as a plentiful supply to them, from year to year, to the time of the reformation, and the final abolition of the priory itself.

 

www.british-history.ac.uk/survey-kent/vol11/pp306-383

Royal Palace of Gödöllő. Door handle on main door of the church.

 

The Palace is one of the most important, largest monuments of Hungarian Palace architecture. Its builder, Count Antal Grassalkovich I (1694–1771) was a typical figure of the regrouping Hungarian aristocracy of the 18th century. He was a Royal Septemvir, president of the Hungarian Chamber, and confidant of Empress Maria Theresa (1740–1780). The construction began around 1733, under the direction of András Mayerhoffer (1690–1771) a Salzburg builder.

 

The Palace has a double U shape, and is surrounded by an enormous park. The building underwent several enlargements and modifications during the 18th century, its present shape was established in the time of the third generation of the Grassalkovich family. By then the building had 8 wings, and - besides the residential part - it contained a church, a theatre, a riding-hall, a hothouse, a greenhouse for flowers and an orangery.

 

After the male side of the Grassalkovich family died out in 1841, the Palace had several owners, and in 1867 it was bought for the Crown. The decision of Parliament designated it the resting residence of the Hungarian Monarch. This state lasted until 1918, thus Francis Joseph (1867–1916) and later Charles IV and the royal family spent several months in Gödöllő every year.

 

During this period the Palace became the symbol of independent Hungarian statehood, and, as a residential centre it had a political significance of it own. It was Empress Elisabeth (1837–1898) who specially loved staying in Gödöllő, where the Hungarian personnel and neighbourhood of the Palace always warmly welcomed her. Following her tragic death, a memorial park adjoining the upper-garden was built.

 

The period of the royal decades also brought their enlargements and modifications. The suites were made more comfortable, a marble stable and cart-house were built. The riding hall was re-edified.

 

Between the two world wars the Palace served as the residence for Regent Miklós Horthy. No significant building took place during this period, apart from an air-raid shelter in the southern front garden. After 1945 the Palace, like many other buildings in Hungary, fell into decay.

 

Soviet and Hungarian troops used the building, some of the beautifully decorated rooms were used for an Old People's Home, and the park was divided into smaller plots of land.The protection of the Palace as a historical monument started in 1981, when the National Board for Monuments launched its Palace project. The most important tasks of preservation began in 1986 and were completed in the end of 1991. During this time the Palace was partly emptied. By 1990 the Soviet troops left the southern wing, then the Old People's Home was closed down.

 

During this time the roof of the riding-hall and the stable-wing was reconstructed, the façade of the building was renovated, as well as the trussing of the central wings and the double cupola. Research was carried out in the archives and in the building, and thus the different building periods of the monument were defined. Painted walls and rooms were uncovered which revealed the splendour of the 18-19th centuries. Architectural structures were discovered, and so were the different structures of the park.

en.wikipedia.org/wiki/G%C3%B6d%C3%B6ll%C5%91_Palace

 

en.wikipedia.org/wiki/G%C3%B6d%C3%B6ll%C5%91#The_Royal_Pa...

 

hu.wikipedia.org/wiki/Grassalkovich-kast%C3%A9ly_%28G%C3%...

 

Jheronimus Bosch (Joen van Aken) 1450-1516. Hertogenbosch.

Le Chariot de Foin.The Hay Cart. Escorial

Hertogenbosch Jheronimus Bosch Art Center

 

Le Chariot de Foin : Au centre l'humanité habitée par le Mal se dirige vers les Enfers du volet de gauche. L'amour physique, la poésie et la musique qui voyagent tout en haut n'échapperont pas au sort commun qui concerne aussi les Papes, les Empereurs et les Rois. Tout comme la foule avide et violente des hommes ordinaires, qui cherchent à arracher au passage quelques bribes de paille.

La signification des personnages tout en bas du tableau est plus énigmatique. Ils semblent échapper à la folie des hommes. Mais est ce bien certain ?

L'Enfer du volet de droite voit des diables édifier une tour de grande hauteur tout à fait semblable à nos buildings géants contemporains. Ces tours, parodie de la Tour de Babel, s'effondreront dans le feu comme rappelé en arrière plan du tableau. N'est ce pas ?

Le Chariot de Foin arrive du volet de gauche qui représente la chute des Anges Rebelles, la création d'Eve, le Péché Originel, et l'Expulsion du Paradis. Rappel d'un fait certain : le Mal existe dès la création de l'Univers.

  

The Hay Cart: In the center of humanity inhabited by Evil goes to the hells of the left pane. The physical love, the poetry and the music which travel at the top will not escape the common destiny which also concerns the Popes, the Emperors and the Kings. Just like the greedy and violent crowd of ordinary men, who try to snatch a few pieces of straw in the process.

The meaning of the characters at the bottom of the painting is more enigmatic. They seem to escape the madness of men. But is this certain?

The Hell of the right wing sees devils build a tower of great height quite similar to our contemporary giant buildings. These turns, parody of the Tower of Babel, will collapse in the fire as recalled in the background of the painting. Is not it ?

The Hay Cart comes from the left wing, which represents the fall of the Rebel Angels, the creation of Eve, the Original Sin, and the Expulsion from Paradise. Reminder of a certain fact: Evil exists from the creation of the Universe.

 

Wherefore comfort yourselves together,and edify one another, even as ye do.

 

*** 1 Thessalonians 5 : 11, KJV ***

Processed with VSCO with e7 preset

villahermosa,tabasco,mexico

 

le vendredi 26 octobre, Ana et moi avons ete au marche principal de villahermosa faire des photos.il y avait longtemps que je voulais y aller.nous y avons fait des photos une bonne partie de la matinee.j'ai trouve l'accueil des commercants extraordinaire,moi qui d'habitude me plaint du fait qu'ici les commercants sont grincheux et antipathiques.Cette visite m'avait enchantee,je me promettais d'y retourner le plus vite possible.

Ce vendredi le temps etait etrange.apres plusieurs jours de pluie ce matin le ciel etait d'un bleu extraordinaire et le soleil etait plus puissant que jamais.moi qui ai l'habitude de marcher au moins 2h sous le soleil chaque jour,ce jour la j'ai attrape un coup de soleil sur le visage.

Des le lendemain les pluies ont recommence.des lundi il y avait deja des quartiers de la ville qui etaient inondes.Des mardi le marche a ete completement inonde.au point qu'aujourd'hui on parle de tout raser et edifier un autre marche.

tres triste de penser que ce marche a deja completement disparu.tres triste de penser qu'autant de personnes qui travaillaient la se retrouvent sans emploi en plus certainement d'etre sans logement...

***********************************************************

on friday 26th of october,Ana and I went to take pictures at the main market of Villahermosa.We had a wonderful welcome from everyone and I really wanted to go back there to take more pictures.

this day the weather was very special.it was sunny after a few days of heavy rain.the sun was specially strong and I even got sunburned which is not common for me.

The day after the rain was back again and some areas of villahermosa got flooded monday.the market 's turn was to be on tuesday.

now less than a month later it seems that the only good solution is to destruct what remains of the market and rebuilt it.

it makes me very sad to think that this market has now disappeared.

it makes me sad to think that so many people who may already had lost their home have also lost their job.

Frankreich / Elass - Andlau

 

seen from Rocher Sainte-Richarde

 

gesehen von den Rocher Sainte-Richarde

 

Andlau (French pronunciation: [ɑ̃dlo] [andlau]; Alsatian: Àndlöi) is a commune in the Bas-Rhin department in Alsace, Grand Est region of northeastern France.

 

The village owes its origin to Andlau Abbey which was founded in 880 by Richardis, the empress of Charles the Fat. Andlau has been a wine-growing centre and traveler destination since its earliest days.

 

The inhabitants of the commune are known as Andlaviens or Andlaviennes.

 

The commune has been awarded two flowers by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom.

 

Geography

 

Andlau is located some 40 km south by south-west of Strasbourg and 20 km north of Selestat. It is a small town in the Canton of Barr located in the valley of the Andlau river in the foothills of the Vosges Mountains. The surroundings of Andlau town are entirely the Vosges, including a summit, the Stosskopf, which attains a height of 700 metres. The surrounding communes include Mittelbergheim to the north-east, Eichhoffen to the east, Bernardvillé to the south, Le Hohwald to the north-west and Barr. The commune has an area of 23.69 km² and its highest point is towards the northern tip of Niederberg and rises to 807 metres.

 

Access to the commune is by the D62 road from Exit 13 on the A35 autoroute which goes west to the town. There is also the D425 from just north of Eichhoffen going west to the village then continuing west to Le Hohwald.

 

West of the town the commune is entirely forested with an extensive network of forest roads. East of the town there is a small area of farmland.

 

Watercourses

 

The Andlau River: a small river which rises in the Vosges Mountains near the Champ du Feu which is a mountain situated at the eastern end of the Ban-de-la-Roche. It flows from west to east through Andlau, Eichhoffen, Saint-Pierre, Stotzheim, Zellwiller, Hindisheim, Lipsheim, and Fegersheim then empties into the Ill downstream of Ill commune. Further upstream the waters of the Valff and the Kirneck used to power 60 mills and other factories until the 19th century. Its course is about 45 km.

 

Toponymy

Andelaha

Andelelaha

Andeloïa

Andeloha (999 AD)

Andelow

Andeloa

Andelow

Andelach (1126)

 

Origins of the name

 

Andlau is a distortion of the word Andelaha from Andelaw or Andlaw. Andelaha could come from the original name of the river of which there are traces in old maps drawn in the 15th and 16th centuries. The Andlau River is 42.8 km long and flows from the Champ du Feu to the Ill and is the origin of the name of the town. On 30 July 1857 Andlau was called Andlau-au-Val to distinguish it from that of Andelot in Haute-Marne. At the beginning of the 20th century the name became Andlau.

 

History

 

An area occupied since Gallo-Roman times

 

The village undoubtedly already existed in Gallo-Roman times. The village developed around the abbey of nuns founded in 880 AD by Richarde de Souabe, daughter of the Count of Alsace who was known as Erchangar. Sainte Richarde later the wife of Emperor Charles the Fat who was grandson of Louis the Pious.

 

The foundation of the abbey

 

The abbey was initially placed in Saint-Sauveur following the rule of Saint Benedict and received the protection of the Pope. It was allowed to raise money until 1004. It was endowed with substantial assets and subsequently received many privileges . The Emperor Charles IV, in confirming it in 1347, declared the abbey free of all charges and contributions and granted to the abbess Adelaide de Geroldseck, and her successors, the title of Princess of the Empire. The exact date of its secularization is not known but it is believed that it took place between the 12th and 14th centuries. In addition to the charter from Emperor Charles IV many other anterior and posterior diplomas were granted to the abbey to confirm the privileges it had already obtained or to give it new ones. The recipients were required to demonstrate sixteen Quarters of nobility without misalliance and the most illustrious families of Alsace and Germany vied for the honour of admitting their girls. They were not subject to a vow and could, when they wished, return to their families and even marry.

 

This abbey received almost from its inception an illustration that greatly contributed to its prosperity and its status. It is known that the Emperor Charles the Fat was too weak to govern the vast empire that had been reunited under him by the death of his two brothers left in the care of the Empress Richarde, his wife. She had to advise Liutward, Bishop of Vercelli. Courtiers, jealous of the authority of the bishop and the confidence that was accorded him by the Empress, long meditated his ruin and found a way to turn the heart of the weak monarch to jealousy which piety, talents, the eminent qualities of his wife, and twenty-five years of constantly happy marriage were powerless to stop. Liutward was expelled from the court and the repudiated Empress retired to the monastery of Andlau. The legend of Saint Richarde was that she suffered the ordeal of fire and, dressed in a shirt coated with wax, was set fire in four places, she was not burned by the flames which were miraculously extinguished. In any case it was in this monastery that the wife of Charles the Fat ended her days in prayer and good works. She also found a source of consolation in letters in which she wrote with great distinction several beautiful poems which have been preserved until now where she writes of her resignation and the purity of her soul. She died before the end of the 9th century and was buried in a side chapel of the Andlau church. A century and a half later she was canonized by Pope Leo IX who was in Alsace, his homeland, and came to bless Andlau's new church built by the Abbess Mathilde, sister of Emperor Henry III.

 

Andlau family

 

The first references to the house of Andlau are in the 12th century which makes this family one of the oldest lines in France. The Andlau line forms 0.5% of the French nobility and their origins date back to the late Middle Ages so are considered old nobility – distinguished nobility or ancient nobility. The nobles of Andlau may have given their name to the town. According to some sources, the Andlau family arrived in Alsace in Roman times with another family: the Dandolo of Venice. This family had founded the castle of Bas-d'Andlau.

 

Another version attributes the creation of the town to a man named Balthasard d'Andolo, a native of Bologna. He would have followed Charlemagne who was heading north in the 8th century. It would then be located in the valley of Eleon and could be the origin of the foundation of the noble lineage of the Andlau family who gave their name to Andlau. Balthasard and his son founded a small monastery in the valley near the Andlau river. This theory would therefore go against the version that it was Sainte Richarde who founded the abbey.

 

Another proposal speaks of a knight of Andlau who helped Richarde to find a location where the bear was scratching the ground. The Andlau family acceded to the status of knights from the 9th century. They gave their name to the town and thus made bequests to the abbey. But one[who?] can also argue that the family took the name of the town which later gave them their coat-of-arms. The first character, Gunther d'Andalau, was cited in 1141 and became abbot of Saint-Blaise. The lords of Andlau won renown during the Battle of Sempach on 9 July 1386, during which the Earl of Andlau lost four of his sons. It was particularly affected by the Thirty Years' War.

 

The Andlau family are related to many characters in the history of France, such as Claude-Adrien Helvetius, Jacques Necker, Germaine de Staël, Jean Le Marois, Hardouin-Gustave Andlau, and Albert de Mun.

 

The village formed around the abbey

 

Gradually a small town formed around the abbey that the abbess gave in fief in 1364 to the Andlau noble family, one of the most illustrious of Alsace, whose history is mentioned for the first time in 1141 when Ganthier Andlau was abbot of Saint-Blaise. Nine years later Othon, Count of Andlau (Otto de Andelaha) appeared as a witness to a diploma from the Emperor Conrad III in favour of the Abbey of Saint-Blaise. This family has produced many distinguished men which proves the high esteem which it enjoyed under an ancient privilege which was renewed by Charles V in 1550: the eldest son bore the title of hereditary knight of the Holy Roman Empire.

 

Andlau as a pilgrimage town

 

A pilgrimage was dedicated early in its history to the Virgin Mary in the crypt of the church where the canons met every day to pray. The 14th century tower which is often confused Spesbourg Castle - is attested to belong to the nobles of Dicka. Between the 13th and 14th centuries four castles were built in Andlau. One of these was the castle of Wibelsberg-Crax of which there are a few remnants. Built between 1232 and 1249 it was first demolished by Eberhard d'Andlau then rebuilt from 1293. It was called Crax Castle but was finally demolished in 1298 by order of the Bishop of Strasbourg. The lords of Andlau fortified the town in the 15th century. In 1695 the Forest Ranger of Andlau, Frantz Ettighoffen, killed one of the last bears in the Vosges Mountains. In the middle of the 19th century Andlau had more than eighteen mills. The town is surrounded by forests and vineyards.

 

(Wikipedia)

 

Andlau est une commune française viticole située dans la circonscription administrative du Bas-Rhin et, depuis le 1er janvier 2021, dans le territoire de la Collectivité européenne d'Alsace, en région Grand Est.

 

Cette commune se trouve dans la région historique et culturelle d'Alsace.

 

Elle est une étape à la fois sur :

 

la Route des vins d'Alsace ;

la Véloroute du vignoble d'Alsace (EuroVelo 5) ;

la partie vosgienne (versant alsacien) du sentier de grande randonnée GR 5 et du sentier européen E2 ;

la partie alsacienne du chemin de Saint-Jacques de Compostelle.

 

Géographie

 

Andlau est une petite ville du Bas-Rhin de l'arrondissement de Sélestat-Erstein et du canton d'Obernai située dans la vallée de l'Andlau sur les contreforts des Vosges. La banlieue d'Andlau est entièrement occupée par les Vosges, dont un sommet, le Stosskopf, y atteint une hauteur de 700 mètres. Ses communes limitrophes sont Mittelbergheim au nord-est, Eichhoffen à l'est, Bernardvillé au sud, le Hohwald au nord-ouest et Barr. La commune possède une superficie de 23,69 km2 dont le point le plus haut culmine à 807 mètres vers la pointe nord du Niederberg.

 

Cours d'eau

 

L'Andlau : petite rivière qui prend sa source dans les Vosges, près du Champ du Feu, montagne située à l'extrémité orientale du Ban de la Roche ; elle coule d'ouest en est, arrose Andlau, Eichhoffen, Saint-Pierre, Stotzheim, Zellwiller, Hindisheim, Lipsheim, Fegersheim et se jette dans l'Ill en aval de cette dernière commune, après avoir reçu en amont de Valff les eaux de la Kirneck et mis en mouvement près de 60 moulins et autres usines vers le xixe siècle. Son cours est d'environ 45 kilomètres.

 

Urbanisme

 

Typologie

 

Andlau est une commune urbaine, car elle fait partie des communes denses ou de densité intermédiaire, au sens de la grille communale de densité de l'Insee. Elle appartient à l'unité urbaine d'Andlau, une agglomération intra-départementale regroupant 3 communes et 2 916 habitants en 2017, dont elle est ville-centre. La commune est en outre hors attraction des villes.

 

Toponymie

 

Andelaha

Andelelaha

Andeloïa

Andeloha, 999

Andelow

Andeloa

Andelow

Andelach, 1126

 

Origine du nom

 

Andlau est une déformation du mot Andelaha en Andelaw ou Andlaw. Le premier mot pourrait provenir du nom primitif de la rivière dont on trouve des traces dans les anciennes cartes établies aux xve et xvie siècles. Cette rivière de 42,8 km coule depuis le Champ du Feu jusqu'à l'Ill et se trouve être à l'origine du nom de la commune. La ville a ensuite pris le nom de la rivière. Le 30 juillet 1857, Andlau s’appelait Andlau-au-Val pour la distinguer de celui de Andelot dans la Haute-Marne. Au début du xxe siècle, le nom redevient Andlau.

 

Histoire

 

Un domaine occupé dès l'époque gallo-romaine

Le village est sans doute déjà occupé à l'époque gallo-romaine. Ensuite, c'est autour de l'abbaye de moniales fondée en 880 par Richarde de Souabe, fille du comte d'Alsace connu sous le nom d'Erchangar, que se développe le village. Sainte Richarde épouse par la suite l'empereur Charles le Gros, petit-fils de Louis le Débonnaire.

Selon la légende, Richarde est accusée d'inconduite par son mari. Afin de démontrer son innocence, elle se soumet à l'épreuve du feu : pieds nus et vêtue d'une chemise enduite de cire, elle traverse les flammes sans la moindre brûlure. Justifiée, mais meurtrie par le vil soupçon, elle quitte son château et s'en va dans la forêt. Un ange lui apparaît et lui enjoint de fonder un monastère à l'endroit que lui indiquera une ourse. À l'entrée du val d'Eléon, sur les bords du torrent, elle aperçoit la bête annoncée qui gratte la terre. C'est donc à cet endroit que s'élèvera l'abbaye d'Andlau. En souvenir de son origine, l'abbaye logera et nourrira gratuitement les montreurs d'ours de passage et entretiendra un ours vivant.

Telle est la légende. En fait, Richarde a déjà fondé Andlau depuis 7 ans quand Charles le Gros la répudie. C'est là qu'elle se retire. Elle est canonisée en 1049 par le pape Léon IX, un Alsacien. Les religieuses d'Andlau, toutes de noble naissance, avaient le droit de quitter le couvent et de se marier. Seule l'abbesse prononçait des vœux définitifs. Elle portait le titre, envié, de princesse du Saint-Empire.

 

La fondation d'une abbaye

 

Cette abbaye fut placée initialement au Saint-Sauveur et suivait la règle de saint Benoît qui reçut la protection du pape. Elle fut autorisée à battre monnaie jusqu'en 1004. Elle fut dotée de biens considérables et reçut par la suite un grand nombre de privilèges. L'empereur Charles IV, en les confirmant en 1347, déclara l'abbaye exempte de toutes charges et contributions et accorda à l'abbesse Adélaïde de Géroldseck et à celles qui lui succédèrent, le titre de princesse de l'Empire. On ne connaît pas précisément l'époque précise de sa sécularisation ; on croit qu'elle eut lieu entre les xiie et xive siècles. Outre la charte de l'empereur Charles IV, un grand nombre d'autres diplômes antérieurs et postérieurs ont été concédés à cette abbaye, soit pour confirmer les privilèges qu'elle avait déjà obtenus, soit pour lui en accorder de nouveaux. Les récipiendaires étaient obligés de faire preuve de seize quartiers de noblesse sans mésalliance, et les familles les plus illustres d'Alsace et d'Allemagne briguaient l'honneur d'y faire admettre leurs filles ; elles n'étaient assujetties à aucun vœu et pouvaient quand bon leur semblait, rentrer dans leurs familles et même se marier.

 

Cette abbaye reçut, presque dès son origine, une illustration qui n'a pas peu contribué à sa prospérité et à sa considération. On sait que l'empereur Charles le Gros, trop faible pour gouverner le vaste empire qu'il avait réuni sous son sceptre par la mort de ses deux frères, en laissa les soins à l'impératrice Richarde, son épouse ; elle avait pour conseiller Liutward, évêque de Verceil. Les courtisans, jaloux de l'autorité de l'évêque et de la confiance que lui accordait l'impératrice, méditaient depuis longtemps sa ruine et trouvèrent le moyen d'allumer dans le cœur du faible monarque une jalousie que la piété, les talents, les éminentes qualités de son épouse et vingt-cinq ans de mariage constamment heureux furent impuissants à écarter. Liutward fut chassé de la cour ; l'impératrice répudiée se retira dans le monastère d'Andlau. La légende de sainte Richarde porte qu'elle subit l'épreuve du feu, et que revêtue d'une chemise enduite de cire, à laquelle ont mis le feu en quatre endroits, elle ne fut point atteinte par les flammes qui s'éteignirent miraculeusement. Quoi qu'il en soit, ce fut dans cette abbaye que l'épouse de Charles-le-Gros finit ses jours dans la prière et les bonnes œuvres. Elle trouva aussi une source de consolations dans les lettres, qu'elle cultivait avec une grande distinction ; plusieurs belles poésies, qui sont parvenues jusqu'à nous, peignent sa résignation et la pureté de son âme. Elle mourut avant la fin du ixe siècle et fut enterrée dans une chapelle latérale de l'église d'Andlau ; un siècle et demi plus tard, elle fut canonisée par le pape Léon IX, qui s'étant trouvé en Alsace, sa patrie, vint à Andlau bénir l'église nouvellement construite sous l'abbesse Mathilde, sœur de l'empereur Henri III.

 

La famille d'Andlau

 

On trouve les premières références à la maison d'Andlau au xiie siècle, ce qui fait de cette famille une des lignées les plus anciennes de France. La ligne d'Andlau fait partie des 0,5 % de la noblesse française dont les origines remontent au bas Moyen Âge ; elle est ainsi considérée comme noblesse d'épée - noblesse de race ou noblesse ancienne . Les nobles d'Andlau ont peut-être donné leur nom à la ville. Selon certaines sources, la famille d'Andlau serait arrivée en Alsace à l'époque romaine avec une autre famille, les Dandolo de Venise. Cette famille aurait fondé le château du Bas-d'Andlau. Une autre version attribue à un dénommé Balthasard d'Andolo natif de Bologne la création de la ville. Il aurait suivi Charlemagne qui se dirigeait vers le nord vers le viiie siècle. Il se serait alors fixé au val d'Eléon et pourrait donc être à l'origine de la fondation de la lignée de la famille noble des Andlau qui a donné le nom à Andlau. Balthasard et son fils auraient fondé un petit couvent dans la vallée, près de la rivière Andlau. Cette théorie irait donc à l'encontre de la version qui veut que ce soit sainte Richarde qui ait fondé l'abbaye. Une autre proposition parle d'un chevalier d'Andlau qui aurait aidé Richarde à trouver l'emplacement où l'ours grattait le sol. La famille des Andlau accédera au statut de chevaliers à partir du ixe siècle. Ils prendront le nom de la cité et feront ainsi des legs à l'abbaye. Mais on peut aussi prétendre que cette famille a pris le nom de la ville, qui par la suite lui a donné ses armoiries. Le premier personnage, Gunther d'Andalau, cité en 1141, devient abbé de Saint-Blaise. Les sires d'Andlau s'illustrent durant la bataille de Sempach, le 9 juillet 1386, durant laquelle le comte d'Andlau perd quatre de ses fils. Elle est particulièrement affectée par la guerre de Trente Ans.

 

La famille d'Andlau est liée à de nombreux personnages de l'histoire de France, comme Claude-Adrien Helvétius, Jacques Necker, Germaine de Staël, Jean Le Marois, Hardouin-Gustave d'Andlau ou encore Albert de Mun.

 

Le village se forme autour de l'abbaye

 

Peu à peu, il se forma aux alentours de l'abbaye une petite ville que l'abbesse donna en fief, en 1364, à la famille noble d'Andlau, une des plus illustres de l'Alsace, dont l'histoire fait mention pour la première fois en 1141 : Ganthier d'Andlau fut abbé de Saint-Blaise. Neuf ans après, Othon, comte d'Andlau (Otto de Andelaha comes) paraît comme témoin dans un diplôme donné par l'empereur Conrad III en faveur de l'abbaye de Saint-Blaise. Cette famille a produit un grand nombre d'hommes distingués, et ce qui prouve la haute considération dont elle jouissait, c'est qu'en vertu d'un antique privilège, renouvelé par Charles Quint, en 1550, l'aîné portait le titre de chevalier héréditaire du Saint-Empire.

 

Andlau une ville de pèlerinage

 

Un pèlerinage fut dédié très tôt à la Vierge Marie dans la crypte de l'église où les chanoinesses se réunissaient chaque jour pour prier. Au xive siècle une tour — souvent confondue avec le château de Spesbourg — est attestée appartenir aux nobles de Dicka. Entre le xiiie et le xive siècle quatre châteaux sont édifiés à Andlau. L'un de ces châteaux est celui du Wibelsberg-Crax dont il ne subsiste que quelques vestiges. Construit entre 1232 et 1249 il est démoli une première fois par Eberhard d'Andlau, puis reconstruit à partir de 1293. Il prend alors le nom de château de Crax, mais est définitivement démoli en 1298 sur ordre de l'évêque de Strasbourg. Les sires d'Andlau fortifient la ville au xve siècle. En 1695 le garde forestier d'Andlau, Frantz Ettighoffen, tue l'un des derniers ours des Vosges. Au milieu du xixe siècle, Andlau compte encore dix-huit moulins. La commune est entourée de forêts et de vignes.

 

(Wikipedia)

 

Andlau ist eine französische Gemeinde mit 1763 Einwohnern (Stand 1. Januar 2020) im Département Bas-Rhin in der Europäischen Gebietskörperschaft Elsass und in der Region Grand Est. Sie gehört zum Arrondissement Sélestat-Erstein und zum Kanton Obernai.

 

Geografie

 

Andlau liegt am Fuß der Vogesen, am westlichen Rand der Oberrheinebene, etwa 14 Kilometer nördlich von Sélestat und 28 Kilometer südwestlich von Straßburg. Das zu neun Zehnteln bewaldete Gemeindegebiet reicht weit nach Westen in die Vogesen hinein. Durch den Ort fließt die Andlau, ein Nebenfluss der Ill.

 

Nachbargemeinden von Andlau sind Barr und Mittelbergheim im Nordosten, Eichhoffen im Osten, Bernardvillé im Süden, Reichsfeld und Albé im Südwesten sowie Le Hohwald im Westen.

 

Geschichte

 

Die Abtei Andlau wurde 880 von der Kaiserin Richardis gegründet. Sie war von ihrem Gatten Kaiser Karl III. verstoßen worden und wurde später heiliggesprochen. Ihr Grab in Andlau wurde zur Wallfahrtsstätte. Der Legende zufolge wurde ihr der geeignete Platz dafür von einer wilden Bärin gezeigt. In der als einem der ältesten Teile der Kirche erhaltenen, zweiräumigen Krypta aus dem Jahre 1045, gegen Osten um 1080 vergrößert, steht eine Bärenskulptur. Die Krypta ist eine der ältesten Wallfahrtsorte zur Jungfrau Maria im Elsass. Hierher kamen Rheumatismus-Geplagte und Fußkranke, um Heilung zu erhalten. Um das Kloster herum entwickelte sich der Ort. Für die weitere Ortsgeschichte war das Adelsgeschlecht Andlau von Bedeutung. Dessen Wappen wurde in umgekehrter Farbstellung zum Gemeindewappen. 1287 wurde das Benediktinerinnenstift reichsunmittelbar und 1499 in ein Damenstift umgewandelt, bevor es in der Französischen Revolution im Jahre 1791 aufgelöst wurde.

 

Von 1871 bis zum Ende des Ersten Weltkrieges gehörte Andlau als Teil des Reichslandes Elsaß-Lothringen zum Deutschen Reich und war dem Kreis Schlettstadt im Bezirk Unterelsaß zugeordnet.

 

Wirtschaft

 

Der Ort lebt überwiegend vom Weinanbau und Weinhandel (siehe auch Weinbaugebiet Elsass). Er liegt an der Elsässer Weinstraße. Auf dem Gemeindegebiet befinden sich die drei Alsace Grand Cru-Lagen Kastelberg, Moenchberg und Wiebelsberg.

 

Gemeindepartnerschaften

 

Seit 1961 ist Andlau mit der deutschen Gemeinde Sexau im südbadischen Landkreis Emmendingen partnerschaftlich verbunden.

 

(Wikipedia)

The British Columbia Legislature is a massive Richardsonian Romanesque landmark building, surrounded by manicured lawns, fountains, and statues, on the south shore of the Inner Harbour.

 

Heritage Value

 

The British Columbia Legislature is valued as the most significant political, social, and architectural landmark in British Columbia. Initiated in 1893 to boost the local economy and to ensure the city's retention of the seat of government, the Legislature is representative of the history of the political activities and governmental regulation which have occurred in Victoria since colonial times.

 

Constructed on the site of the 'Birdcages', a complex of colonial administrative buildings, the location of the Legislature is of key significance to its heritage value. Situated on a large portion of land and surrounded by manicured lawns, fountains, and commemorative statues, the Legislature is a monument to the beginnings of the expressive city planning which shaped the Inner Harbour Precinct. This building's prominent location on the harbour - and its juxtaposition with the Empress Hotel - express noted architect Francis Mawson Rattenbury's vision for this area, which intended to manifest Victoria's economic and governmental prestige and refinement through the development of architecture and landscape. The Legislature, as the first major building in the Inner Harbour, was designed to introduce a formal and impressive silhouette between the shoreline and the mountainous backdrop, and set the scene for subsequent monumental construction which would occur nearby in the early twentieth century.

 

Chosen from 65 entries in an open competition, the Legislature design is the most prestigious example of Rattenbury's work. This design, inspired by British and American mainstream governmental architecture of the time, met all stipulations for a building which was to house the Legislative Assembly, Land Registry, Printing Office and various administrative departments under one roof, and was deemed well suited to portray the reputable, broad-minded, and cultivated nineteenth century image of British Columbia. Architecturally, the 1890s section of the Legislature, and Rattenbury's subsequent 1911 east and west wings and 1915-16 library, comprise the province's most edifying building. Its monolithic stone construction, massive domes and arches, extensive exterior statuary, and the grand and lavish interior spaces and layout epitomize the sense of dignity and depth of history associated with British Columbia's governmental heritage.

 

Notably, the Legislature was built using, whenever possible, local people, products, and resources; its interior and exterior finishes exemplify the design virtues of such local materials as maple and cedar, and Nelson Island granite, Haddington Island andesite, and Jarvis Inlet slate.

 

Furthermore, it is interesting to note that the silhouette of the Legislature was illuminated with electric lighting in 1897 for Queen Victoria's Diamond Jubilee, one year before the building was completed, and has continued to be illuminated at night ever since.

 

Source: City of Victoria Planning and Development Department

 

www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=1634

The Fort Saint-Elme is a military fort built between 1538 and 1552 by Charles V. It is located in the district of Collioure, 30 km south-east of Perpignan, in the department of Pyrénées-Orientales. It is designated as a monument historique of the Côte Vermeille. Since 2008, the fort has been a museum with medieval and Renaissance arms collections, exhibitions and a panorama over the area from the terrace.

The fort Saint-Elme is located at the top of a hill overhanging Collioure on the west and Port-Vendres on the east. One can reach the fort following a local road linking the D114 road at the north, through the Coll d'en Raixat at the south.

 

Toponymy

Several assumptions exist for the origins of Saint Elme: Firstly the name of Saint-Elme may come from Erasmus of Formia, an Italian martyr of the 4th century. Secondly it could have been given in honour of the Spanish saint Peter González (1190-1246). This explains why we find this name around the western Mediterranean coasts: Saint Elme in Naples, Sant Elme in St Feliu de Guixols, Sant Helme and Santem in Provence, etc… Saint Erasmus may have become the patron saint of sailors because he is said to have continued preaching even after a thunderbolt struck the ground beside him. This prompted sailors, who were in danger from sudden storms and lightning, to claim his prayers. The electrical discharges at the mastheads of ships were read as a sign of his protection and came to be called "Saint Elmo's Fire".

 

By decree on 3 June 1794, during the French Revolution, the city took briefly the name of Fort-du-Rocher (Rock's fort).

 

History

From the origins to the Middle-Ages

The history of Fort Saint-Elme began with the edification of the watchtower in the 8th century, i.e. either during the period when Arab-Berber troops occupied Septimania between 719 and 759. Integrated to the Marca Hispanica, the tower belonged to the independent Counts of Roussillon until the death without heirs of Girard II of Roussillon in 1172. He bequeathed his county to Alfonso II, King of Aragon and Count of Barcelona. This is during the Aragonese period that the tower took its nickname "Torre de la guardia" (Watchtower).

 

Between 1276 and 1344, Majorca’s kings, whose summer residence was the castle of Collioure, rebuilt this signal tower on this ideal point of view. This tower was integrated in an efficient communication system including the Massane and Madeloc towers located on the heights of Collioure and funded by James II of Aragon in the 13th century. These towers communicated through smoke signals that permitted to alert the surroundings population with smoke signals (black or white, discontinuous or continuous) according to the danger. At night, some dry wood permitted to light fires to alert garrisons until Perpignan. By day, some green wood was used to emit smoke and thus communicate with the others towers and strongholds of the region. But it was the enemy of the kingdom of Majorca, the king Peter IV of Aragon, who, once he conquered the coast in 1344, made significant military works to improve the defense of the fort.

 

During the second part of the 15th century, the French controlled the Roussillon. In 1462, the king Louis XI took advantage of the Catalan civil war (1462-1472) to sign the treaty of Bayonne and thus took over the counties of Roussillon and Cerdagne. The French decided to strengthen the fort which took the name of Saint Elme. A part of ramparts dates from this period. The successor of Louis XI, Charles VIII, who wanted to assure the neutrality of Spain for his ambitions over the kingdom of Naples, signed with Ferdinand II of Aragon the treaty of Barcelona in 1493. The catholic king recovered thus the lost territories.

 

The fortification of Charles V

In the 16th century, the Roussillon is an essential piece of the Spanish kingdom. The region had a triangular shape delimitated by the cordilleras in the north, the Albera Massif in the south and the Mediterranean Sea in the east. Perpignan was an important industrial, cultural and commercial center which got important privileged links with the wealth of Italy. Perpignan was defended in the north by the Fortress of Salses and in the south by the Fort Saint-Elme. This castle protected also the Collioure and Port-Vendres ports which assured supplies and troops helpers to the regional capital of Roussillon.

 

The progress of the modern artillery changed profoundly the war art and the siege technics. Architects and artillerymen were converted to new war masters and advisers of sovereigns. In 1537, the Italian architect Benedetto of Ravenna caught the emperor’s attention on the weaknesses of the Collioure position. After an inspection, Benedetto obtained the agreement of Charles V. He began the works in 1538 until 1552 and transformed the fort’s appearance which took its star-shaped aspect.

 

A French fort

Despite this modernisation and its adaptation to the artillery, on 13 April 1642, French troops of king Louis XIII achieved to take the fort. After the signing of the Treaty of the Pyrenees in 1659, the Spanish threat remained. When Vauban, military architect of King Louis XIV, made a reconnaissance of the defensive structures in 1659 in the region of Collioure, he decided to build a counterscarp, which forms with the ramparts base a ten-meter pit where infantry and cannons could easily operate.

 

Around 1780, the fort’s facade was whitened to serve as landmark from the sea, with the Massane Tower, to better situate the port of Port-Vendres.[1]

 

During the French Revolution, more precisely during the War of the Pyrenees, between 1793 and 1795, the region was the center of violent fights. The Fort Saint Elme was conquered successively by Royalists and Republicans. In 1794, the Spanish army took the fort. Six months later, the general Dugommier crushed with 11 000 cannonballs the garrison which surrendered on 25 May 1794 after a 22-day siege. After the revolutionary period, the fort, unified with the municipality of Collioure, was transformed in military warehouse.

 

A private museum

The Fort Saint-Elme was demilitarised in 1903 and abandoned. The tower was shattered, the (shooting place) was partly impracticable and many walls threatened to collapse. On 21 August 1913, the State decided to auction the fort. Several owners succeeded but none restoration was made. The fort was registered as Monument Historique by decree of 2 April 1927. A new owner decided thus to restore it. The works ended in 1936. During the WWII, the fort was occupied by the Kriegsmarine between 1942 and 1944. At their escape, some buildings were dynamited to block the progress of allied troops. Rebuilt partially in 1950, most restoration works began in 2004. Since 2008, the fort has been a museum.

 

Architecture

The interior of the fort Saint-Elme is composed of rooms edified around the exterior circumference of the tower. On the first floor, there were the troop’s dormitories, the weapons room, the throne’s room, the jail and the oven. Today, the floor is fit out historical objects which date from 15th century to 19th century: helmets, knights’ armours, chest, polished-stone and iron cannonballs, medieval and "Renaissance" weapons (culverin, falconet, crossbows, halberds, flails, hammers, lances, bows, swords, arquebus, 16th-century pistols), howitzer fragments.

 

Others rooms reveal the history of the monument: the genealogy and life of Charles V, the fortifications of Vauban, the inventory of 1770 and the attack of general Dugommier in 1794.

 

On the second floor, the flour and artillery warehouses were next to the guardroom and the bakery. Saint-Elme, a stronghold with an ingenious defensive system, has been conceived to support sieges and resist to assaults. Some walls reach up to eight-meters thick. The tower contained the powder. The shooting place could receive more than 20 cannons and howitzers. The undergrounds are not open to the public. Formerly, they were used as a warehouse for food and housing. They could also house all trades (corps de metier) necessary to the fight.

 

Wikipedia

 

The Collioure mill is a medieval mill recently brought up to date by the town. It is on the heights, on the other side of the creek coming from Perpignan. If you don't see it, look up, it's as simple as that.

 

The Collioure mill is a local curiosity. It is a windmill, which is quite rare in the region, most of the mills being water-powered. This one has been perfectly restored, it is very close to the city, and it is a good destination for a very short walk.

Rather than being incomplete, it is better to quote the text at its feet, which briefly explains its history. Here is :

 

On February 11, 1337, the Chevalier Raymond de Toulouse, prosecutor of the King of Majorca, ceded to Jacques Ermengald de Collioure direct control of a piece of land located in Collioure, at a place called "Cortines" and ceded to him the right to operate the windmill which will be built there to grind grain or crops of any kind on its own authority.

 

The mill ceased its activity in the 19th century to find itself gradually in a state of ruin. Became property of the city, the town undertook its restoration which was completed in June 2001, with the wooden machinery made in the traditional way by the carpenters of Bernard Gariblad. It is now in working order for crushing olives and producing Collioure oil.

  

Collioure is a town on the Mediterranean coast of southern France. On the sea, the medieval Château Royal de Collioure offers dramatic coastal views. The bell tower of 17th-century Notre-Dame-des-Anges Church was once a lighthouse. The Modern Art Museum includes paintings by Henri Matisse. Nearby is the Moulin de Collioure, a 14th-century windmill. South, the hilltop Fort St. Elme has a museum with medieval weapons. ― Google

  

en.wikipedia.org/wiki/Collioure