View allAll Photos Tagged Sentar
Definitivamente hija de Zeus, pero fue la que nunca aprendió nada de Mnemósine, y es que su memoria no fue buena para mí, pero muy fuera de esto me ha inspirado y con ello descargar milésimas de sentimientos que hoy se posan en palabras… ¿su significado? nulo para algunos, ¿por qué? porque muchos no entienden que expresarse libremente esta muy lejos de maldecir a quien no te comprende, yo con mis cosas y ustedes con las suyas. Si entienden esto, entienden el concepto de ser sinceros con uno mismo. El poder crear... ser poetas en un cuadro, escribir un libro en una escultura, caminar y levitar... mí Musa, ella lo hace posible, es mejor que la playa, mejor que Elvis, que el Túnel, que la marihuana, que aprender, que soñar, que otro día, que ayer, que hoy, que el pasticho, que el tequila, que Botswana… ¡Qué todo!
Siempre esperaré por ella, gritaré al cielo para que me escuche, y cuando no quiera bajar y explicarme la vida, me sentaré a escuchar música, música de una musa, tocaré las estrellas, haré cantar al sol, y como una lunática admiraré complaciente la luna diariamente por ella o mejor dicho por Él.
Praia de Areia Preta - Natal - RN
Copyright © 2015 GFerreiraJr
® rights reserved
REPRODUÇÃO PROIBIDA
® Todos os direitos reservados
** Foto sem tratamento em Photoshop ou outros aplicativos, somente assinada. Uso de filtro UV
** Photo untreated into Photoshop or other applications, only signed. Use of UV filter
A idéia era fotografar o sunset; porém, me vi entre árvores, sombras e cores.
Será que deu certo?
Bom domingo!!
=)
Vem sentar-te comigo, Lídia, à beira do rio.
Sossegadamente fitemos o seu curso e aprendamos
Que a vida passa, e não estamos de mãos enlaçadas.
(Enlaçemos as mãos).
Depois pensemos, crianças adultas, que a vida
Passa e não fica, nada deixa e nunca regressa,
Vai para um mar muito longe, para o pé do Fado,
Mais longe que os deuses.
Desenlacemos as mãos, porque não vale a pena cansarmo-nos.
Quer gozemos, quer não gozemos, passamos como o rio.
Mais vale saber passar silenciosamente.
E sem desassossegos grandes.
Fernando Pessoa
Si paseando por la calle nos sentáramos en un banco y observáramos unos minutos, nos daríamos cuenta de lo ajetreada y agotadora que puede resultar la vida que llevamos.
Nos comportamos como hormigas, de un lado a otro, sin pararnos siquiera unos instantes a reflexionar sobre lo que hay a nuestro alrededor, impasibles frente a la falta de tiempo para uno mismo y que tanto hace falta en ocasiones para reorganizarnos y atar cabos sueltos que solo nosotros podemos atar.
"(...) They don't know evil or jealousy or discontent. To sit with a dog on a hillside on a glorious afternoon is to be back in Eden, where doing nothing was not boring - it was peace.” ~ Milan Kundera
----------
"Os cães são o nosso elo com o Paraíso. Eles não conhecem a maldade, a inveja ou o descontentamento. Sentar-se com um cão ao pé de uma colina numa linda tarde, é voltar ao Éden onde ficar sem fazer nada não era tédio, era paz." ~ Milan Kundera
- Al Parc del Laberint, en plena Barcelona, es poden trobar molts racons com aquest on poder oblidar totes les coses que un no vulgui recordar, o també ón poder somniar.
Booona tarda :-)))
______________________________________________________________
En el Parque del Laberinto en plena Barcelona, hay muchos rincones como éste dónde poder sentarse a olvidar las cosas que uno no quiere recordar, o también dónde poder soñar.
Feliz tarde :-)))
Ogni giorno vedo la nebbia
Venire dal mare
E sparire oltre le colline
Come una sottile malinconia
Non so donde venga
Non so dove vada
Non ho nulla da chiedere al vento
Niente da raccontargli
Posso solo scegliere se seguirlo
O sedere qui sul tetto della mia vita
Guardando le piccole barche di passaggio
Giorno dopo giorno
In portuguese (Brazil)
todo dia eu vejo a neblina que vêm do mar
e de fuga para além das colinas
como uma melancolia sutil
Eu não sei de onde vem
Eu não sei para onde vai
Não tenho nada para perguntar ao vento
nada a dizer a ele
Eu só posso escolher seguí-lo
ou sentar aqui no telhado da minha vida
olhando os barcos pequenos que passam
dia após dia.
(Thanks to Ruby Ferreira)
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
Um lugar delicioso, onde você pode passar uma manhã de domingo super agradável. Diante de uma beleza natural maravilhosa.
Aí você pode:
Ver as esculturas de Mario cravo (até hoje eu não vi todas), fazer caminhada, andar de magrela, correr, andar de pedalinho, fazer piquenique, sentar numa mesa e tomar uma cervejinha ou um refrigerante com acarajé lógico haha, ver as barraquinhas de artesanato, ou simplesmente admirar a natureza.
Uma semana abençoada pra todos!
I just steped over this place and felt some sort of energy ...
It was incredible to look around and just absorb the beauty and magic of this place ...
Eu pissei ai neste lugar e senti uma energia incrivel.
Foi bom sentar e observar a beleza e a magica deste lugar.....
Espero que voces tambem gostem.
Vertorama ...
^o^ well, hallo good friends of flickrworld! i can not believe it’s 2008 ö_Ö ! YeeeHaaa… my wishes comes slightly late but it is still just as warm… YeeeHaaa! Wish the year brings good fortune, abundant health for you and lots of happiness to your home. yeah! ^o^
ó_ò i'm sorry that i've been so quiet of late - i've been having to focus on many new projects, traveling*s, and family matters. yeah, have been without time to sit in front of computer for fun… ó_ò
okay, i’ve spent the end of '07 and the beginning of 2008 in the balinese gardens and on the birds' islands ^_~... lols now, i’m still feeling wet to the skin!... lols Ô_õ it was and it is still raining heavily all the time but it was wonderfully fun observing all kind of critters Ô_ô behaving unusually `(•.°)~ under that amount of water pouring from the sky. lols Ö_ö truly a wet safari! ^o^ missed y’all a lot! hugs, hugs and hugs
photography taken at Taman Burung Lagoon
Nusa Dua – Bali – Indonesia
........................◊.........◊◊...............................◊◊onBlackey◊◊...............................◊◊........◊.........................
^o^ bom, alô meus bons amigos do flickrworld! eu não posso acreditar que já é 2008 ö_Ö! YeeeHaaa… meus votos estão ligeiramente atrasados mas, ainda é da mesma maneira quente... YeeeHaaa! desejo que o ano traga boa fortuna, saúde abundante para você e muita felicidade para sua casa. yeah! ^o^
ó_ò sinto muito por estar tão quieta ultimamente - eu tenho tido que focalizar em muitos projetos novos, viagens e assuntos familiares. meu, estive sem tempo para sentar na frente do computador para divertir-me... ó_ò
okay, eu passei o final de 07 e o começo de 2008 pelos jardins balinenses e pelas ilhas dos pássaros ^_~ rsrs... agora, eu ainda estou sentindo-me molhada até os ossos!... rsrs Ô_õ estava e ainda está chovendo muito o tempo todo mas, foi maravilhosamente divertido observar todos os tipos de criaturas Ô_ô comportarem-se extraordinariamente `(•.°)~ debaixo daquela quantia de água que vertia do céu. Ö_ö verdadeiramente, um safari encharcado! ^o^ rsrs... gente, muitas saudades de vcs! abraços, abraços e abraços
fotografado na Lagoa Taman Burung
Nusa Dua – Bali – Indonésia
Pour mon ami Jolie ...
Achei gostoso pensar na simplicidade do povo que nela habita
e na delicia de sentar nestes alpendres
onde o tempo parece parar.
E pensar na vida.
Pensar ...
No bule de cafe junto ao fogao de lenha
da cadeira solitaria onde nossos corpos por vezes se agarraram.
Seus seios medios, redondos e firmes
apontando para o ceu.
Nao sei se eram dourados ou eram
apenas reflexos do sol.
Seus cabelos negros e sua
cintura fina
brilhantes como brasas de carvao.
Era fogo ardente
era seu corpo movendo como
serpente ...
Pensar, pensar, pensar ...
Tava gostoso parar neste lugar ...
Nao gostaria que voces todos me entendesem.
Apenas, que me aceitassem assim.
Um abraco a todos.
Vou tomar uma desligada daqui por uns tempos.
Sao 3 anos e agora eu preciso de ferias e tempo para recompor os arquivos.
It's also time for me to take a break.
3 years almost of commenting and getting myself all excited about all of you and all of this wonderful world of images and friendships and also caring.
Now it's a time for me to take a break.
See you soon.
Thank you all for your friendship.
3x vertorama ...
That's the word to mess and put a whole in the head of your word with friends
colleagues ...
Ufa ....
Hope that all is well with you my friends.
I'm slowly been able to seat in my computer, I shall return soon.
Logo logo eu volto gente.
Ainda tendo um pouco de problemas para sentar um pouquinho na frente do computador.
Voltarei logo a brincar aqui com voces.
Uma otima semana a todos.
Max
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
El río Neva (en ruso: река Нева)? es un río en el noroeste de Rusia, de 74 km de longitud y que va desde el lago Ládoga (Ладожское озеро Ládozhskoye ózero) y tras pasar por el istmo de Carelia (Карельский перешеек Karelskii pereshéyek) a través de la parte occidental del óblast de Leningrado (región histórica de Ingria) y la ciudad de San Petersburgo, desemboca en el golfo de Finlandia.
El «Río Neva con sus riberas y embarcaderos» forma parte, con el código 540-029, del sitio Patrimonio de la Humanidad llamado «Centro histórico de San Petersburgo y conjuntos monumentales anexos». A pesar de su modesta longitud, es el tercer río más caudaloso de Europa, tras el Volga y el Danubio.
De los 74 kilómetros de longitud del río, 28 km se encuentran dentro de los límites de la ciudad de San Petersburgo, mientras el resto se encuentra dentro del óblast de Leningrado. Fluye hacia el suroeste desde el lago Ládoga, alcanza su punto más meridional cerca de su confluencia con el río Tosna, y gira hacia el noroeste adentrándose en el golfo de Finlandia. La anchura media es de 400 a 600 metros, siendo la máxima 1200 m y la mínima 8-11 m. La mayor profundidad que alcanza es 24 metros, en su parte central de la corriente, no lejos del puente Liteyny. La cuenca del Nevá incluye al lago Ládoga y el lago Onega, los dos mayores lagos de Europa y abarca una amplia región del noroeste de Rusia y Finlandia meridional.
En la Edad Media, el río tenía una gran importancia, ya que al ser ancho y navegable constituía un canal de comunicación entre el mar Báltico y el Volga, hacia el oriente. El asentamiento en la confluencia del Nevá y el Izhora fue el escenario de la famosa, aunque escasamente documentada, Batalla del Nevá (1240) entre los suecos y los rusos. Alejandro Yaroslávich, príncipe de Nóvgorod, ganó esta batalla y asumió el sobrenombre de «Nevski», que significa «del Nevá».
Durante el siglo XVI, la desembocadura del Nevá albergó la fortaleza sueca de Nyen, y un entrante de tierra en el Ládoga, la fortaleza rusa de Oréshek, después llamada Shlisselburg. La fortaleza de Nyen fue destruida por Pedro el Grande, después de fundar la Fortaleza de San Pedro y San Pablo (Петропавловская Крепость Petropávlovskaya Krépost), en 1703. Situada en la Isla de Liebre (Заячий Остров Záiаchii Óstrov), la fortaleza se considera en la actualidad la primera estructura del San Petersburgo de nuestros días. Fue también Pedro quien ordenó la construcción del canal de Ládoga uniendo el Nevá con el Vóljov y el Svir unos kilómetros al sur del Ládoga.
es.wikipedia.org/wiki/Río_Nevá
The Neva (Russian: Нева́) is a river in northwestern Russia flowing from Lake Ladoga through the western part of Leningrad Oblast (historical region of Ingria) to the Neva Bay of the Gulf of Finland. Despite its modest length of 74 kilometres (46 mi), it is the fourth largest river in Europe in terms of average discharge (after the Volga, the Danube and the Rhine).
The Neva is the only river flowing from Lake Ladoga. It flows through the city of Saint Petersburg, three smaller towns of Shlisselburg, Kirovsk and Otradnoye, and dozens of settlements. The river is navigable throughout and is part of the Volga–Baltic Waterway and White Sea – Baltic Canal. It is a site of numerous major historical events, including the Battle of the Neva in 1240 which gave Alexander Nevsky his name, the founding of Saint Petersburg in 1703, and the Siege of Leningrad by the German army during World War II.
The area of Neva river was originally inhabited by Finnic people. In Finnic languages the word neva has wide spread with similar meanings. In Finnish (neva) it means poor fen, in Karelian (neva) watercourse and in Estonian (nõva) waterway.
It has also been argued that the name derives from Indo-European adjective newā which means new. The river came to exist in 1350 BC. However, the place names of the area doesn't support any Indo-European influence in the area before Scandinavian traders and Slavs started to enter the region in 8th Century.
Whereas most tourist attractions of Neva are located within St. Petersburg, there are several historical places upstream, in the Leningrad Oblast. They include the fortress Oreshek, which was built in 1323 on the Orekhovy Island at the source of Neva River, south-west of the Petrokrepost Bay, near the city of Shlisselburg. The waterfront of Schlisselburg has a monument of Peter I. In the city, there are Blagoveshchensky Cathedral (1764–95) and a still functioning Orthodox church of St. Nicholas, built in 1739. On the river bank stands the Church of the Intercession. Raised in 2007, it is a wooden replica of a historical church which stood on the southern shore of Lake Onega. That church was constructed in 1708 and it burned down in 1963. It is believed to be the forerunner of the famous Kizhi Pogost.
Old Ladoga Canal, built in the first half of the 18th century, is a water transport route along the shore of Lake Ladoga which is connecting the River Volkhov and Neva. Some of its historical structures are preserved, such as a four-chamber granite sluice (1836) and a bridge (1832).
en.wikipedia.org/wiki/Neva_River
The 1963 Aeroflot Tupolev Tu-124 Neva river ditching (Russian: Посадка Ту-124 на Неву) was a water landing by a Tupolev Tu-124 of the Soviet state airline Aeroflot (Moscow division). The aircraft took off from Tallinn-Ülemiste Airport (TLL) at 08:55 on 21 August with 45 passengers and 7 crew on board. The aircraft (registration number SSSR-45021) was built in 1962 and was scheduled to fly to Moscow–Vnukovo (VKO) under the command of 27-year-old captain Victor Mostovoy. After takeoff the nose gear did not retract. Ground control diverted the flight to Leningrad (LED) – because of fog at Tallinn.
At 10:00 the aircraft started to circle the city at 450 m (1,480 ft), in order to use fuel, reducing weight and decreasing the risk of fire in the event of a crash. The ground services at Pulkovo Airport (LED) were preparing the dirt runway for the landing. Each circuit around the city took the aircraft approximately 15 minutes. During this time the crew attempted to force the nose gear to lock into the fully extended position by pushing it with a pole taken from the cloak closet.
On the eighth and last circuit while 20 km (12 mi) from the airport, the no. 1 engine flamed out due to fuel starvation. The remaining engine ceased shortly thereafter, with the aircraft above the city center, traveling east over St. Isaac's Cathedral and the Admiralty. Upon loss of power the flight crew ditched the aircraft in the 300-metre (980 ft) wide Neva River.
Eyewitnesses saw the Tupolev descend upstream. Immediately after a turn, the aircraft glided over the high steel structures of the Bolsheokhtinsky Bridge with approximately 30 m (100 ft) of clearance. The Tu-124 flew over the Alexander Nevsky Bridge – under construction at the time – barely missing it. The pilot managed to land the aircraft onto the river, in close proximity to an 1898-built steam tugboat.
The plane began to flood. The tugboat's captain then broke the aircraft's windshield to tie a cable to the cockpit's control wheel and proceeded to tow the craft to the river bank. During the tow all passengers remained on board. Passengers and crew then evacuated the cabin via an access hatch on the plane's roof.
The plane captain was first fired from job but then restored and awarded with the Order of the Red Star.
en.wikipedia.org/wiki/1963_Aeroflot_Tupolev_Tu-124_Neva_r...
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
en.wikipedia.org/wiki/Saint_Isaac%27s_Cathedral
Monumento al emperador Nicolás I de Rusia
Fecha de construcción: (1856 – 1859)
Escultor: Piotr Clodt.
Arquitecto: Auguste Montferrand
El monumento al emperador ruso Nicolás I se alza majestuoso en el centro de la plaza de San Isaac de San Petersburgo (Rusia). Se trata de una estatua ecuestre.
El escultor Piotr Clodt, realizó un preciso cálculo matemático que le permitió utilizar solo dos puntos de apoyo para fijar el monumento.
Desde cualquier punto de la plaza puede percibirse perfectamente la silueta del grupo escultórico. La magistral ejecución de la estatua y el lugar bien escogido de la ubicación para el monumento, en el centro de la plaza de San Isaac, lo convierten en excelsa obra de la escultura monumental.
majocobe.blogspot.com/2010/11/monumento-al-emperador-nico...
The Monument to Nicholas I (Russian: Памятник Николаю I) is a bronze equestrian monument of Nicholas I of Russia on St Isaac's Square (in front of Saint Isaac's Cathedral) in Saint Petersburg, Russia. Created by French sculptor Auguste de Montferrand and unveiled on July 7 [O.S. June 25] , 1859, the six-meter statue was considered a technical wonder at the time of its creation. It is one of only a few bronze statues with only two support points (the rear hooves of the horse). Another example is the 1852 equestrian statue of U.S. President Andrew Jackson.
The Neo-Baroque monument to the Russian ruler Nicholas I was designed by the French-born architect Auguste de Montferrand in 1856. When he planned the registration of Saint Isaac's Square, the uniform architectural ensembles of the Palace Square (in 1843) and the Senate Square had already been finished (in 1849). Monuments to the emperors Peter I and Alexander I dominated these squares. By tradition, de Montferrand intended to construct a monument on the new site, to unite the buildings of different architectural styles already there.
At the personal request of his successor Alexander II, Nicholas was represented as a prancing knight, "in the military outfit in which the late tsar was most majestic". Around the base are allegorical statues modelled on Nicholas I's daughters and personifying virtues. The statue faces Saint Isaac's Cathedral, with the horse's posterior turned to the Mariinsky Palace of Nicholas's daughter, Grand Duchess Maria Nikolayevna of Russia. This was said to have caused the Grand Duchess considerable discomfort.
The monument also depicts the social activities of the emperor: Nicholas I was for many years the chief of the nearby Konnogvardejsky regiment. Elements of the city topography, the Konnogvardejsky parkway and Konnogvardejsky lane, and the Konnogvardejsky arena are combined with the Konnogvardejsky regiment uniform in which the emperor is dressed.
Soviet historians and critics considered it a 'composite-stylistic' monument because they thought its elements did not combine to form a uniform composition:
Contemporaries noticed that Peter the Great was the idol of Nicholas I who had in all things tried to imitate his glorious ancestor.
The ballerina Mathilde Kschessinska (1872–1971), who was a favourite of Nicholas II, was offered the Mariinsky Palace as a place of residence. She refused, with the rejoinder that two emperors had already turned away from an ill-fated building and Nicholas did not want to be the third to join them. By this reference to 'two emperors' Kschessinska meant the statues of the Bronze Horseman and the Monument to Nicholas I. Later similar rumours began to be attributed to the Grand Duchess Maria Nikolayevna of Russia. However this legend has been called into question because Maria actively participated in work on the monument.
Contemporaries have noticed that this monument is aligned with the statue of the Bronze Horseman, and is almost an identical distance from Saint Isaac's Cathedral. This juxtaposition has generated numerous jokes of the type "Kolya to Petia catches up, but Isaak's Cathedral disturbs!" Russian: Коля Петю догоняет, да Исакий мешает!
There is also a city legend, which claims that the day after the monument was unveiled, on a foot of the horse there was found a wooden tablet on which had been written: "you will not catch up!". On the basis of this legend in the 19th century in St. Petersburg there was a saying: "the Fool of the clever catches up, but the monument to it disturbs" Russian: Дурак умного догоняет, но памятник ему мешает!
Several different sculpture models were used in creating the monument. A large model of the horse which Nicholas I sits on was commissioned from the Tsar's favourite sculptor, Peter Klodt. The initial sketch created by it represented the horseman on easy standing game. The author planned by means of a mimicry and gestures to reflect character of the emperor, but this variant has been rejected of Monferran's for the reason that could not serve the primary purpose of association of spatial ensembles.
Klodt has created the new sketch in which it has represented a horse in the movement, leaning only on back pair feet. It is composite, the prompt pose of a horse is resisted by the smart figure of the emperor extended in a string. For an embodiment of this sketch the sculptor precisely calculated the weight of all horse figure that it stood, leaning only on two points of support. On Monferran's drawing sculptor Robert Salemann executed the monument's model "in 1/8 full sizes with all architectural parts and ornaments" (Russian: в 1/8 натуральной величины со всеми архитектурными частями и украшениями). This variant was accepted by the architect and the emperor, it is embodied in bronze; this model has remained and is in a museum of a city sculpture.
The monument's technical proficiency was cited as a reason why this statue — the only one from a cluster of outdoor sculptures representing 19th-century Russian royalty — survived the Soviet period virtually intact. However, a bronze fencing around the monument, first installed in 1860, was dismantled in 1940. During World War II the monument was covered by a case from the boards, filled with bags of sand.
In 1987–1988 the State Museum of City Sculpture undertook a full restoration of the monument. Restorers opened the hatch on a croup of the horse, surveyed the condition of the internal skeleton, and engaged in complex technical expert appraisal, including gamma-ray examination of the feet of a horse. Lost fragments were recreated, inserts in bronze, granite, and marble were made. Gilding of signs on an inscription by galvanic way was made.
In 1991–1992 restorers cast new fencing using the sample of a link which has remained, using funds of the Museum of City Sculpture. Works were executed by the factory "Monumentskulptura".
In 2009 the State Museum of City sculpture made an inspection of the base of the statue. Julia Loginova was managing the maintenance of monuments, work supervision. Results of the research were to be available on 15 October, and based on them the museum would estimate the amount of works which would begin at the end of 2009.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
en.wikipedia.org/wiki/Saint_Isaac%27s_Cathedral
Monumento al emperador Nicolás I de Rusia
Fecha de construcción: (1856 – 1859)
Escultor: Piotr Clodt.
Arquitecto: Auguste Montferrand
El monumento al emperador ruso Nicolás I se alza majestuoso en el centro de la plaza de San Isaac de San Petersburgo (Rusia). Se trata de una estatua ecuestre.
El escultor Piotr Clodt, realizó un preciso cálculo matemático que le permitió utilizar solo dos puntos de apoyo para fijar el monumento.
Desde cualquier punto de la plaza puede percibirse perfectamente la silueta del grupo escultórico. La magistral ejecución de la estatua y el lugar bien escogido de la ubicación para el monumento, en el centro de la plaza de San Isaac, lo convierten en excelsa obra de la escultura monumental.
majocobe.blogspot.com/2010/11/monumento-al-emperador-nico...
The Monument to Nicholas I (Russian: Памятник Николаю I) is a bronze equestrian monument of Nicholas I of Russia on St Isaac's Square (in front of Saint Isaac's Cathedral) in Saint Petersburg, Russia. Created by French sculptor Auguste de Montferrand and unveiled on July 7 [O.S. June 25] , 1859, the six-meter statue was considered a technical wonder at the time of its creation. It is one of only a few bronze statues with only two support points (the rear hooves of the horse). Another example is the 1852 equestrian statue of U.S. President Andrew Jackson.
The Neo-Baroque monument to the Russian ruler Nicholas I was designed by the French-born architect Auguste de Montferrand in 1856. When he planned the registration of Saint Isaac's Square, the uniform architectural ensembles of the Palace Square (in 1843) and the Senate Square had already been finished (in 1849). Monuments to the emperors Peter I and Alexander I dominated these squares. By tradition, de Montferrand intended to construct a monument on the new site, to unite the buildings of different architectural styles already there.
At the personal request of his successor Alexander II, Nicholas was represented as a prancing knight, "in the military outfit in which the late tsar was most majestic". Around the base are allegorical statues modelled on Nicholas I's daughters and personifying virtues. The statue faces Saint Isaac's Cathedral, with the horse's posterior turned to the Mariinsky Palace of Nicholas's daughter, Grand Duchess Maria Nikolayevna of Russia. This was said to have caused the Grand Duchess considerable discomfort.
The monument also depicts the social activities of the emperor: Nicholas I was for many years the chief of the nearby Konnogvardejsky regiment. Elements of the city topography, the Konnogvardejsky parkway and Konnogvardejsky lane, and the Konnogvardejsky arena are combined with the Konnogvardejsky regiment uniform in which the emperor is dressed.
Soviet historians and critics considered it a 'composite-stylistic' monument because they thought its elements did not combine to form a uniform composition:
Contemporaries noticed that Peter the Great was the idol of Nicholas I who had in all things tried to imitate his glorious ancestor.
The ballerina Mathilde Kschessinska (1872–1971), who was a favourite of Nicholas II, was offered the Mariinsky Palace as a place of residence. She refused, with the rejoinder that two emperors had already turned away from an ill-fated building and Nicholas did not want to be the third to join them. By this reference to 'two emperors' Kschessinska meant the statues of the Bronze Horseman and the Monument to Nicholas I. Later similar rumours began to be attributed to the Grand Duchess Maria Nikolayevna of Russia. However this legend has been called into question because Maria actively participated in work on the monument.
Contemporaries have noticed that this monument is aligned with the statue of the Bronze Horseman, and is almost an identical distance from Saint Isaac's Cathedral. This juxtaposition has generated numerous jokes of the type "Kolya to Petia catches up, but Isaak's Cathedral disturbs!" Russian: Коля Петю догоняет, да Исакий мешает!
There is also a city legend, which claims that the day after the monument was unveiled, on a foot of the horse there was found a wooden tablet on which had been written: "you will not catch up!". On the basis of this legend in the 19th century in St. Petersburg there was a saying: "the Fool of the clever catches up, but the monument to it disturbs" Russian: Дурак умного догоняет, но памятник ему мешает!
Several different sculpture models were used in creating the monument. A large model of the horse which Nicholas I sits on was commissioned from the Tsar's favourite sculptor, Peter Klodt. The initial sketch created by it represented the horseman on easy standing game. The author planned by means of a mimicry and gestures to reflect character of the emperor, but this variant has been rejected of Monferran's for the reason that could not serve the primary purpose of association of spatial ensembles.
Klodt has created the new sketch in which it has represented a horse in the movement, leaning only on back pair feet. It is composite, the prompt pose of a horse is resisted by the smart figure of the emperor extended in a string. For an embodiment of this sketch the sculptor precisely calculated the weight of all horse figure that it stood, leaning only on two points of support. On Monferran's drawing sculptor Robert Salemann executed the monument's model "in 1/8 full sizes with all architectural parts and ornaments" (Russian: в 1/8 натуральной величины со всеми архитектурными частями и украшениями). This variant was accepted by the architect and the emperor, it is embodied in bronze; this model has remained and is in a museum of a city sculpture.
The monument's technical proficiency was cited as a reason why this statue — the only one from a cluster of outdoor sculptures representing 19th-century Russian royalty — survived the Soviet period virtually intact. However, a bronze fencing around the monument, first installed in 1860, was dismantled in 1940. During World War II the monument was covered by a case from the boards, filled with bags of sand.
In 1987–1988 the State Museum of City Sculpture undertook a full restoration of the monument. Restorers opened the hatch on a croup of the horse, surveyed the condition of the internal skeleton, and engaged in complex technical expert appraisal, including gamma-ray examination of the feet of a horse. Lost fragments were recreated, inserts in bronze, granite, and marble were made. Gilding of signs on an inscription by galvanic way was made.
In 1991–1992 restorers cast new fencing using the sample of a link which has remained, using funds of the Museum of City Sculpture. Works were executed by the factory "Monumentskulptura".
In 2009 the State Museum of City sculpture made an inspection of the base of the statue. Julia Loginova was managing the maintenance of monuments, work supervision. Results of the research were to be available on 15 October, and based on them the museum would estimate the amount of works which would begin at the end of 2009.
La Puerta del Sol es una plaza de Madrid (España). Aquí se encuentra desde 1950 el denominado Kilómetro Cero de las carreteras radiales españolas. El edificio más antiguo de la Puerta del Sol es la Casa de Correos y en ella destaca el reloj de torre que fue construido y donado en el siglo XIX por José Rodríguez de Losada, y cuyas campanadas de las 12 de la noche del 31 de diciembre marcan la tradicional toma de las doce uvas a la gran mayoría de los españoles. Dichas campanadas se empezaron a televisar el 31 de diciembre de 1962 en La 1 de TVE, a partir de ese año no se ha dejado de retransmitir por diversos canales de televisión de España. La Puerta del Sol es un lugar de cita, un lugar de paso entre diversas partes de Madrid. Es visita turística obligada de aquellos que se acercan a Madrid.
Historia
La Puerta del Sol fue en sus orígenes uno de los accesos de la cerca que rodeaba Madrid en el siglo XV. Esta cerca recogía en su perímetro los arrabales medievales que habían ido creciendo extramuros, en torno a la muralla cristiana del siglo XII. El nombre de la puerta proviene de un sol que adornaba la entrada, colocado ahí por estar orientada la puerta hacia levante. Entre los edificios que le daban prestigio en los comienzos se encontraba Iglesia del Buen Suceso y San Felipe el Real.
Aunque desde los siglos XVII al XIX la puerta tenía importancia como lugar de encuentro (aquí se encontraba uno de los mentideros más famosos de la villa desde el Siglo de Oro, las famosas gradas de San Felipe), no era una plaza definida, como la Plaza Mayor, y ocupaba la mitad del espacio actual. La Casa de Correos fue construida por el arquitecto francés Jaime Marquet entre 1766 y 1768; la misma fue posteriormente Ministerio de la Gobernación (Interior) y Dirección General de Seguridad del Estado durante la dictadura franquista y, actualmente, es sede de la Presidencia de la Comunidad de Madrid. Será esta Casa de Correos la que empiece a sentar las bases urbanísticas de lo que hoy es la Puerta del Sol y su creciente importancia como punto céntrico de Madrid. Tras la conversión de la Casa de Correos en sede del Ministerio de Gobernación (1847), se decide derribar algunas casas de la zona para realzar el edificio y darle seguridad. El resultado sería la creación de una gran plaza.
Para ello, en aplicación de las leyes de desamortización de Mendizábal, se derriban, entre otros, los conventos de San Felipe y Nuestra Señora de las Victorias allí ubicados. Entre 1857 y 1862, Lucio del Valle, Juan Rivera y José Morer llevan a cabo la reforma de la plaza, dándole su fisonomía actual. Para ello mantienen la alineación de la Casa de Correos en uno de los lados y construyen edificios de viviendas con fachadas uniformes definiendo un espacio de forma semicircular.
En 1959 es reformada por Manuel Herrero Palacios incorporando en su centro una zona ajardinada y las fuentes. En 1986 los arquitectos Antonio Riviere, Javier Ortega y Antón Capitel introducen una nueva reforma, adquiriendo más importancia la zona peatonal. Las farolas instaladas con motivo de esta remodelación, fueron apodadas popularmente como los supositorios y provocaron una gran polémica debido a su diseño moderno. Finalmente fueron sustituidas por las actuales farolas de estilo "fernandino", si bien en los dos postes centrales de la plaza los supositorios pervivieron algunos años más, para ser unificadas unos años más tarde con las del resto de la plaza.
Entre 2004 y 2009 se realizaron las obras de construcción de un intercambiador de transportes, inaugurado el 27 de junio de 2009, que acerca la red ferroviaria de Cercanías a la estación subterránea de Sol. La estación se ha convertido por sus dimensiones en la más grande del mundo1 con 28 m de profundidad, 207 m de longitud y 20 m de ancho. Su vestíbulo tiene 7500 m². La entrada al intercomunicador, parecida a un iglú ha vuelto a cambiar la fisonomía de la Puerta del Sol.
El 15 de mayo de 2011, tras una manifestación convocada por la plataforma Democracia Real Ya, decenas de manifestantes acamparon en la plaza esa misma noche, sumándose cada día más personas y siendo millares durante la semana siguiente, reclamando un cambio político, social y económico en España. Se convierte así la plaza en el símbolo del Movimiento 15M. El día 2 de agosto, la Policía Nacional desalojó a los últimos acampados.
Edificios representativos y elementos ornamentales
Hitos importantes en esta plaza, aparte de la placa correspondiente al mencionado Kilómetro Cero frente a la Casa de Correos, son la Estatua del Oso y el Madroño, popular punto de encuentro de los madrileños, erigida en 1967 enfrente del edificio de Tío Pepe, posteriormente trasladada a la boca de la calle del Carmen y reubicada en su lugar original el 25 de septiembre de 2009;2 sendas placas en la fachada de la Casa de Correos, dedicadas, una a los héroes del levantamiento popular del 2 de mayo y la otra a las víctimas de los atentados del 11 de marzo de 2004 y a las personas que colaboraron el día de la catástrofe; la Estatua de la Mariblanca, reproducción de una antigua y popular escultura que adornaba la fuente que allí existía; y el cartel publicitario de neón de los vinos Tío Pepe creado por el burgales Luis Pérez Solero, último superviviente de los numerosos anuncios que en otros tiempos había en esta plaza. La Puerta del sol se ve rodeada de catorce edificios. De la misma época data la medida de 635,50 metros sobre el nivel medio del mar de Alicante.
El último elemento añadido, en 1994, es la estatua ecuestre de Carlos III. Para elegir su emplazamiento fue convocado un referéndum popular, que tuvo lugar en la propia Puerta del Sol, colocando la estatua, provisionalmente durante el período del referéndum, en el lugar que más o menos hoy ocupa. Es una reproducción en bronce de Miguel Ángel Rodríguez y Eduardo Zancada de la obra de Juan Pascual de Mena que se conserva en la Real Academia de Bellas Artes de San Fernando. La inscripción en espiral que rodea el pedestal describe brevemente la historia del reinado de Carlos III. El monumento mide nueve metros de altura. Como curiosidad, cabe señalarse que, en él se instaló un dispositivo electrónico para alejar a las palomas que sobre él se posaban continuamente. Uno de los más representativos es Casa Cordero (Calle mayor 1).
Comunicaciones y transportes
La Puerta del Sol ha sido y es uno de los principales nudos del transporte público de la ciudad. En ella convergían numerosas líneas de tranvías (tranvías de Madrid). La primera línea de metro (las obras se iniciaron en abril de 1917) se inauguró entre Sol y Cuatro Caminos el 17 de octubre de 1919, para la que se construyó, por el arquitecto Antonio Palacios, una bella marquesina de acceso en el centro de la plaza, desaparecida para dar paso a la circulación rodada.
En la actualidad bajo la Puerta del Sol se ubica una estación multimodal del Consorcio de Transportes de Madrid que integra servicios de ferrocarril suburbano y de la red de ferrocarriles de cercanías de RENFE.
Líneas de Metro
En la estación de Sol de la plaza tienen su cabecera numerosas líneas de la EMT (desviadas por las obras del Ministerio de Fomento), convergen tres líneas de metro:
Línea 1
Línea 2
Línea 3
Red de cercanías
Desde 2009 están operativas dos líneas de Cercanías ferroviarias:
C-3
C-4
que ponen a Sol en comunicación directa con las estaciones de Atocha-Cercanías y Chamartín.
es.wikipedia.org/wiki/Puerta_del_Sol_%28Madrid%29
The Puerta del Sol (Spanish for "Gate of the Sun") is one of the best known and busiest places in Madrid. This is the centre (Km 0) of the radial network of Spanish roads. The square also contains the famous clock whose bells mark the traditional eating of the Twelve Grapes and the beginning of a new year. The New Year's celebration has been broadcast live on La 1 since December 31, 1962.
History
The Puerta del Sol originated as one of the gates in the city wall that surrounded Madrid in the 15th century. Outside the wall, medieval suburbs began to grow around the Christian Wall of the 12th century. The name of the gate came from the rising sun which decorated the entry, since the gate was oriented to the east.
Between the 17th and 19th centuries, the area was an important meeting place: as the goal for the couriers coming from abroad and other parts of Spain to the Post Office, it was visited by those eager for the latest news. The stairs to the Saint Philip church at the square were known as the Gradas de San Felipe, and were among the most prolific mentideros de la Corte (this Spanish idiom sounds as "lie-spreaders of the Court", but it is related with the verb mentar, "to say about someone", not mentir, "to lie", so it is more appropriately translated as "places of the City where people buzz about other people").
The House of the Post Office was built by French Architect Jacques Marquet between 1766 and 1768. The building was the headquarters of the Ministry of Interior and State Security during the Francisco Franco dictatorship. It is currently the seat of the Presidency of the Madrid Community.
Famous buildings and landmarks
The Puerta del Sol contains a number of well known sights associated both domestically and internationally with Spain. On the south side, the old Post Office serves as the office of the President of Madrid, the head of the regional government of the Autonomous Community of Madrid (not to be confused with the Madrid City Council, which is housed elsewhere). Also on its south side, the square holds a mounted statue of Charles III of Spain, nicknamed "el rey alcalde" ("the mayor-king") due to the extensive public works programme he set in motion. The famous Tío Pepe lighted sign is above the square's eastern building between the Calle de Alcalá and the Carrera de San Jerónimo. On the east side lies a statue of a bear and a madrone tree (madroño), the heraldic symbol of Madrid. Until 2009, the statue stood on the north side at the entrance to Calle del Carmen. The Mariblanca (actually Venus) marks the place of a former fountain.
The kilómetro cero is a plaque on the ground directly north of the Post Office serving as the symbolic centre of Spain. In addition to signalling the basis of numbering in the Spanish road system, the symbolic nature of the plaza ensures that it is the site of many rallies and protests, particularly against violence and war. Sol has seen protests against the terrorism perpetrated the March 11th attacks on commuter trains, and Spain's involvement in the Iraq War
In 2011, the square has become established as a focal point and a symbol for the ongoing Spanish democracy demonstrations. The demonstrations included camping in the middle of the plaza (@acampadasol) initiated on May 15 amidst the election campaign for city halls and Autonomous Communities governments and fuelled up by Social media, particularly Twitter and Facebook. The demonstrations have then spread to many (more than 60) other cities in Spain. From 12 June remains in the square a free-standing domed structure pallets that fulfills the functions of information point 15-M Movement. This continued all the summer of 2011 until the dawn of August 2, when the national police decided to evict it. Currently dozens of committees have their assemblies in the iconic square.
Location in Madrid
The Puerta is located in the very heart of Madrid. Immediately to the southwest lies the Plaza Mayor; the Palacio Real, the official home of the Royal Family, is further west. Parliament and the museum district are to the east and the train station Atocha is to the southeast.
Under the square lies a public transport hub served by lines 1, 2 and 3 of the Madrid Metro. A commuter service was inaugurated on June 27, 2009, four years behind schedule. The lateness of the construction was in part due to the discovery of the remains of the Church of Our Lady of Good Success during the excavation of the main chamber. The new station connects the Puerta to Madrid's commuter rail system and, by extension, to Spain's railroads via direct connections to Atocha and Chamartín railway stations [2].
The square connects several commercial and recreational areas together, and thus both it and the surrounding streets consist mainly of shopping establishments catering to locals and tourists alike, like the several El Corte Inglés department store buildings in Preciados Street, La Mallorquina cafe, and numerous, ever-changing restaurants. The area remains active late into the night and early morning since nearby bars and dance clubs often only start entertainment at 1 am. Street music is also common in the area.
Side streets close to the square also contain residential flats, some small offices, and tourist hostels.
Namesakes
Puerta del Sol, Spanish for door of the sun, it was seen as the entrance to the city, Madrid, which was in a native language the word for Sun.
en.wikipedia.org/wiki/Puerta_del_Sol
La Puerta del Sol (littéralement « porte du Soleil » en espagnol, ainsi nommée parce qu'au fronton de l'un de ses édifices figurait jadis un cadran solaire), est une place de Madrid.
Elle est située au centre de la ville et elle en symbolise le cœur. Elle est aussi le point kilométrique zéro des distances à Madrid, elle est au centre géométrique du pays.
Depuis 2009, la place est réservée aux piétons.
C'est ici que tout le monde se réunit habituellement le 31 décembre pour fêter le nouvel an au son de l'horloge de la Casa de Correos, édifice le plus ancien de la Puerta del Sol. La coutume veut que l'on avale un raisin à chaque son de cloche (las doce uvas).
À l'entrée de la calle Alcalá allant de la Puerta del Sol à Canillejas, on peut voir la statue symbolisant Madrid : l'ours et l'arbousier (el oso y el madroño).
Mouvement 15M
En 2011, suite à une manifestation le 15 mai à l'appel du mouvement ¡Democracia Real Ya! (Une vraie démocratie, maintenant), de nombreux manifestants ont occupé la place Puerta del Sol pendant plus d'une semaine, nuit et jour. Des dizaines de milliers de personnes s'y réunirent chaque jour, débattant et s'appropriant l'espace public. À la manière de la place Tahrir au Caire lors de la révolution égyptienne de 2011, la Puerta del Sol est devenue un symbole de la lutte en faveur d'une vraie démocratie lors des manifestations de mai 2011 en Espagne.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
Não sabemos porque, mas Yami gosta de sentar na mesa comendo papaia, que ele pega do prato dele com a patinha enquanto tomamos café-da-manhã.
We don't know why, but Yami likes to sit at the table when we're having breakfast, and eat papaya, which he picks up with his paw, from his own special plate.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.
La catedral de San Isaac, oficialmente catedral de San Isaac de Dalmacia (en ruso: собор преподо́бного Исаа́кия Далма́тского)? es una catedral ortodoxa rusa erigida en el siglo XIX en la ciudad de San Petersburgo, la más suntuosa y grandiosa de las iglesias de la ciudad y uno de los monumentos neoclásicos más interesantes de la arquitectura rusa del siglo XIX. Fue diseñada por el arquitecto francés Auguste Montferrand y fue construida desde 1818 hasta 1858.
La catedral se encuentra en la plaza del mismo nombre y la de los Decembristas, y tiene una de las cúpulas más grandes del mundo, siendo la segunda iglesia ortodoxa oriental más alta, después de la catedral del Cristo Salvador de Moscú. Desde 1931 se ha convertido en un museo. Es visitada actualmente por aproximadamente un millón de turistas cada año.
Anteriormente, en la zona del Almirantazgo existió una pequeña iglesia de madera dedicada a Isaac (monje), a la que sustituyó otra de piedra, que quedó inservible a mediados del siglo XVIII.
Por último, a comienzos del siglo XIX, se decide levantar la nueva catedral. Participan en el concurso destacados arquitectos de aquella época. Sale vencedor el joven arquitecto francés Auguste Montferrand. Los andamiajes para la catedral de San Isaac fueron realizados por el ingeniero español Agustín de Betancourt. Las obras se prolongaron desde 1818 hasta 1858.
La construcción comenzó en 1818. Antes de demoler el edificio anterior, se consolidó el suelo debido a que la ciudad está construida sobre un terreno muy pantanoso. La operación fue muy larga y compleja: a los 11.000 pilotes de pino alquitranados de la cimentación anterior, se añadieron 13.000 más, con un diámetro de 25 cm cada uno. Las losas de granito se colocaron directamente sobre los pilotes y fueron cubiertas con losas de piedra caliza.
Las cimentaciones tienen un grosor de 14,5 m (7,5 m de altura de los pilotes y otros 7 m de espesor de las losas de piedra). Fueron necesarios 10 años de sentar las bases y 125.000 trabajadores participaron en su instalación. Dado que tenían que conservar los muros de la vieja iglesia, se observaron algunos asentamientos irregulares después de la colocación de los cimientos. Después de que apareciesen algunas grietas en las paredes se tuvieron que suspender los trabajos y demoler las partes restantes del edificio anterior. El director de las obras fue el arquitecto suizo Domenico Adamini (1792-1860).
En la decoración de la catedral de San Isaac se emplearon 43 tipos de minerales. El zócalo fue revestido de granito, el interior de la catedral, paredes y suelos de mármoles rusos, italianos y franceses, las columnas del retablo fueron revestidas de malaquita y lapislázuli. Para sobredorar la cúpula de 21,8 m de diámetro, se emplearon cerca de 100 kilos de oro. Adornan la catedral casi 400 obras entre esculturas, pinturas y mosaicos. Tiene capacidad para 14 mil personas.
Desde 1931 la catedral es un museo.
Se puede subir hasta el tambor de la cúpula, desde donde se puede contemplar una vista de San Petersburgo.
es.wikipedia.org/wiki/Catedral_de_San_Isaac
Saint Isaac's Cathedral or Isaakievskiy Sobor (Russian: Исаа́киевский Собо́р) is a cathedral that currently functions as a museum in Saint Petersburg, Russia. It is dedicated to Saint Isaac of Dalmatia, a patron saint of Peter the Great, who had been born on the feast day of that saint. It was originally built as a cathedral but was turned into a museum by the Soviet government in 1931 and has remained a museum ever since. In 2017, the Governor of Saint Petersburg offered to transfer the cathedral back to the Russian Orthodox Church, but the church has not exercised this offer.
The church on St Isaac's Square was ordered by Tsar Alexander I, to replace an earlier structure by Vincenzo Brenna, and was the fourth consecutive church standing at this place. A specially appointed commission examined several designs, including that of the French-born architect Auguste de Montferrand (1786–1858), who had studied in the atelier of Napoleon's designer, Charles Percier. Montferrand's design was criticised by some members of the commission for the dry and allegedly boring rhythm of its four identical pedimented octastyle porticos. It was also suggested that despite gigantic dimensions, the edifice would look squat and not very impressive. The members of the commission, which consisted of well-known Russian architects, were also particularly concerned by necessity to build a new huge building on the old unsecure foundation. The emperor, who favoured the ponderous Empire style of architecture, had to step in and solve the dispute in Montferrand's favour.
The cathedral took 40 years to construct, under Montferrand's direction, from 1818 to 1858. The building of the cathedral took so long, that it left an idiom to Finnish language: rakentaa kuin Iisakinkirkkoa (To build like the church of Isaac) when speaking of long-term construction projects.
To secure the construction, the cathedral's foundation was strengthened by driving 25,000 piles into the fenland of Saint Petersburg. Innovative methods were created to erect the giant columns of the portico. The construction costs of the cathedral totalled an incredible sum of 1 000 000 gold rubles. Under the Soviet government, the building was stripped of religious trappings. In 1931, it was turned into the Museum of the History of Religion and Atheism, the dove sculpture was removed, and replaced by a Foucault pendulum. On April 12, 1931, the first public demonstration of the Foucault pendulum was held to visualize Copernicus’s theory. In 1937, the museum was transformed into the museum of the cathedral, and former collections were transferred to the Museum of the History of Religion (located in the Kazan Cathedral).
During World War II, the dome was painted over in gray to avoid attracting attention from enemy aircraft. On its top, in the skylight, a geodesical intersection point was placed, to determine the positions of German artillery batteries.
With the fall of communism, the museum was removed and regular worship activity has resumed in the cathedral, but only in the left-hand side chapel. The main body of the cathedral is used for services on feast days only.
On January 10, 2017 Georgy Poltavchenko, the Governor of St. Petersburg, announced that the cathedral would be transferred to the Russian Orthodox Church. The key protocols of the transfer were defined by the order issued by St. Petersburg’s Committee on Property Relations on December 30, 2016. The document expired on December 30, 2018. The new order can be issued upon request from the Russian Orthodox Church, but no such request has yet been submitted.
The transfer of Saint Isaac's Cathedral in use the ROC agreed in January 2017, but the decision has caused discontent of the townspeople, who defended the status of the museum. The decision of the city authorities was disputed in the courts. Currently, the status of the building is museum. Today, church services are held here only ecclesiastical occasions.
The neoclassical exterior expresses the traditional Russian-Byzantine formula of a Greek-cross ground plan with a large central dome and four subsidiary domes. It is similar to Andrea Palladio's Villa La Rotonda, with a full dome on a high drum substituted for the Villa's low central saucer dome. The design of the cathedral in general and the dome in particular later influenced the design of the United States Capitol dome, Wisconsin State Capitol in Madison, Wisconsin, and the Lutheran Cathedral in Helsinki.
The exterior is faced with gray and pink stone, and features a total of 112 red granite columns with Corinthian capitals, each hewn and erected as a single block: 48 at ground level, 24 on the rotunda of the uppermost dome, 8 on each of four side domes, and 2 framing each of four windows. The rotunda is encircled by a walkway accessible to tourists. 24 statues stand on the roof, and another 24 on top of the rotunda.
The cathedral's main dome rises 101.5 metres (333 ft) and is plated with pure gold. The dome is decorated with twelve statues of angels by Josef Hermann. These angels were likely the first large sculptures produced by the then novel process of electrotyping, which was an alternative to traditional bronze casting of sculptures. Montferrand's design of the dome is based on a supporting cast iron structure. It was the third historical instance of cast iron cupola after the Leaning Tower of Nevyansk (1732) and Mainz Cathedral (1826).
The cathedral's bronze doors, covered in reliefs by Ivan Vitali, are patterned after the celebrated doors of the Battistero di San Giovanni in Florence, designed by Lorenzo Ghiberti. Suspended underneath the peak of the dome is a sculpted white dove representing the Holy Spirit. Internal features such as columns, pilasters, floor, and statue of Montferrand are composed of multicolored granites and marbles gathered from all parts of Russia. The iconostasis is framed by eight columns of semiprecious stone: six of malachite and two smaller ones of lazurite. The four pediments are also richly sculpted.
The interior was originally decorated with scores of paintings by Karl Bryullov and other great Russian masters of the day. When these paintings began to deteriorate due to the cold, damp conditions inside the cathedral, Montferrand ordered them to be painstakingly reproduced as mosaics, a technique introduced in Russia by Mikhail Lomonosov. This work was never completed.
William Handyside and other engineers used a number of technological innovations in the construction of the building. The portico columns were raised with the use of large wooden frameworks before the walls were erected. The building rests on 10,000 tree trunks that were sunk by a large number of workers into the marshy banks upon which the cathedral is situated. The dome was gilded by a technique similar to spraypainting; the solution used included toxic mercury, the vapors of which caused the deaths of sixty workers. The dozen gilded statues of angels, each six metres tall, facing each other across the interior of the rotunda, were constructed using galvanoplastic technology, making them only millimeters thick and very lightweight. St. Isaac's Cathedral represents the first use of this technique in architecture.
The meticulous and painstakingly detailed work on constructing the St. Isaac's Cathedral took 40 years to complete, and left an expression in the Finnish language, rakentaa kuin Iisakin kirkkoa ("to build like St. Isaac's Church"), for lengthy and never-ending megaprojects.